Words by Blake Gillespie • Photos by Nicholas Wray

The P and 21st block is a sleepy pocket in Midtown. Tucked away from the white noise of the freeways, littered with parking lots and office buildings and a tattoo parlor, it’s low-profile—unless it happens to be a dance night at Press Club or The Townhouse.

Both clubs are infamous alternatives to the posh world of dress codes and bottle service. At Townhouse, or Toho as some call it, the beer’s cheap, the drinks are stiff, the tagged-up bathrooms are claustrophobic and the entire interior is low-lit to obscure seedy behavior. It’s the only spot in town suitable for a dubstep and bass night called Grimey. Being coined by a local DJ who goes by Whores is just another notch in its anti-glamour esteem.

On his birth certificate, Whores is Daniel Osterhoff. He’s Dan to those who knew him before he was Whores. We met at his apartment on the north side of Midtown a few hours prior to Grimey. He does not live in a high-rise loft or a gutted warehouse that doubles as a skate park. He lives like the rest of us, in a modest complex with carpeted floors and enough space to stretch. Two fellow DJs, one of which was Jubilee just flown in from Miami, and Grimey resident photographer Eric Two Percent were hanging out. The walls were like those you’d find at any graf-writer/graphic designer’s abode; dozens of pieces from abstract to lowbrow with the exception being a giant rusted-red W mounted on the wall.

“Russell Solomon of Tower told me the letters were lying around on the roof of Tower Café,” Whores said. “So one night I climbed up there and took the W.”

While grabbing me a Red Bull from the fridge he apologized for the hair on the kitchen floor. A stylist friend that was hanging out had sharpened Whores’ close-cut before my arrival.

We stepped outside for a cigarette and chopped it up. It was not long before James Blake’s controversial quotes to the Boston Phoenix that caused a stir in dubstep were discussed. An uber-popular British electro-soul and dubstep artist, Blake railed the genre’s burgeoning “frat-boy market,” which is being labeled “bro-step.” His rant was widely publicized for statements like, “It’s a million miles away from where dubstep started,” and “It’s been influenced so much by electro and rave, into who can make the dirtiest, filthiest bass sound, almost like a pissing competition, and that’s not really necessary. And I just think that largely that is not going to appeal to women.” Periodically throughout the night, Whores and his fellow DJs coolly reminded me that it’s neither their taste nor in step with the identity of Grimey.

The success of the night is owed to the attention to taste, which can be misperceived as snobbery, but should not be construed as such. Even when resident DJ Jay Two approached Whores with the idea of a dubstep night, Whores was interested but hesitant due to a feeling that dubstep had reached its high water mark.

An attendee of Grimey is not given the opportunity to gripe “not this damn song again,” because its resident DJs (Whores, Jay Two and Crescendo) are intent on remaining ahead of the curve by playing records acquired on advance or playing the newest tracks they think need to be heard. It’s a dedication to the cutting edge that is scarce in the local clubs that rely on Top 40 or are just held down by stubborn old dogs disinterested in new tricks.

“I just hold steady with playing what I think people would like,” Whores said. “I’ve attended a lot of different dance nights everywhere from New York to Los Angeles, Seattle, Portland, San Francisco and Oakland. From the most underground to the most mainstream clubs, and I’ve taken little elements from each. But once you get the word out there, the word kind of does it itself.”

Much like fellow local veteran DJ, Shaun Slaughter, Whores is well traveled. He started DJing in 1997 as part of 916 Junglist before moving away in 2000 to Portland. Each move, he connected with different crews in Portland and Seattle before moving back to Sacramento in 2005. “Most people don’t know that about me,” he said. “They just think I came on the scene or think I’m from Portland, but I’m born and raised in Northern California.”

I reconvened with Whores outside of the Townhouse around 9:30 p.m. He was talking with Matt B of Bass Science, who had arrived in a rental from Tahoe. Whores was quick to share his knowledge on Bass Science, practically orating a short bio. “He started the whole glitch hop scene basically,” Whores said. “When Glitch Mob was starting out and Lazer Sword, he was right there. This guy’s got quite a big history in the newer EDM alternative craze.”

All professions have a language and despite my familiarity with Grimey and its music, talking to the actual artists involved meant brief interruptions to ask if they were saying “IDM” (intelligent dance music) funny, only to learn that EDM translates to electronic dance music—the domain in which the sub-genres operate. The confusion then sparked the two DJs into weighing the blurring sciences between EDM and IDM. “Some of it is [IDM] though nowadays,” Whores said. “Some of the juke stuff. Machinedrum’s new album.”

“The Lazer Sword,” Matt B added. “It’s intelligent footwork basically.”

“EDM is basically a very blanketed term,” Whores continued. “Nowadays everybody plays a little bit of everything because people’s attention spans are about this small [makes his index and thumb nearly touch]. So if you play one genre of music, you’re pretty much pigeonholing yourself and boring the shit out of the crowd.”

Whores stepped into the booth at 10 p.m. The bar was filling out and overflowing onto the dance floor with more than just gangly dudes having acid flashbacks from the Jungle club days. Whether it’s the Whores hype, the distancing from “bro-step” and “filthy bass” or just a misnomer, Grimey is never short on female attendees. By 10:30 p.m. the dance floor was gaining steam with a few girls entertaining each other, but come 11 p.m. to 2 a.m. the floor was a grinding, thrusting hot box of sweaty bodies—sweet, sweet uninhibited decadence.

Whores neither bores the crowd nor himself when he DJs. He keeps a folder of over 10,000 tracks on his computer at all times and does not practice a strict set. “It’s a lot more fun freestyling sets,” he said. “Sometimes when I record the sets and go back to listen to them, it’s like, ‘Man, that mix really worked.’ Others it really didn’t work, but what it comes down to is if you’re a professional, you can treat it like a jazz musician and play out of it. It’s all what you do with an error. Some DJs don’t know how to bounce back, they flop or they panic and that shows. That’s the difference between me and some DJ who took it up two years ago.”

Back outside we resumed our interview session in hopes of a quieter haven, but Grimey is the dance night with just as many attendees milling about the roped-off outdoor smoking section and back parking lot as there will be jammed into the dank of The Toho.

Whores clearly enjoys the popularity of Grimey, but he lamented that its success led to the compromise of his HUMP night on Wednesdays opposite Grimey. Originally called Warpaint Wednesdays with Terra Lopez, Whores came on to assist with the DJing and teach her techniques. Once Lopez began Sister Crayon, she forked over the night to Whores who renamed it HUMP.

“It used to be a popular night,” he said. “When Grimey came around it took the spotlight. I’ve been bringing around a lot of relative and instrumental electronic artists and musicians to try to bring it back.”

It was none of my business, but Whores willingly broke down the financial losses he’s incurred in the past two months that’s led to HUMP’s demise. DJs that are not conveniently touring the West Coast are flown into Sacramento and given hotel accommodations on Whores’ dollar. If no one shows, it means he bites the bullet.

San Francisco electronic artist EPROM and Frite Nite’s Salva, two rising beacons in the West Coast, are booked for HUMP at the Press Club this week. After that it’s the anniversary party with locals only in November, including Dusty Brown’s Little Foxes project, which is quite possibly also HUMP’s night of eulogy.

With Fuck Fridays dissolved, the Toho was in need of a new Friday night event, and Shaun Slaughter was back on the market for work. Rather than compete for the local crown, Whores and Slaughter teamed up to create Heater, an exclusive once-a-month party that combines glitter and gutter. “It’s more like HUMP with an open format,” Whores said. “We can play anything from house to electro to Baltimore to indie to dubstep and bass n’ breaks, whatever. It’s just straight party.”

The party debuted last month with the two DJs performing separately, and then trading off tracks for the last hour. “There’s always been an odd tension between us, but we’ve always been super-friendly with each other. I’ve been super-supportive of his nights and he’s been super-supportive of mine. The odd tension was because it’s a small town and he’s held the crown for quite a while. I think we’d really benefit if we did more stuff together, which is why we’re only doing it as a monthly.”

Our vibrations are in good hands with the Grimey residents. It’s a rare event where making requests is the greatest faux pas. “I don’t think it’s common knowledge that people know it’s rude,” he said. “Believe it or not, I have one job and one job only and that’s keep the vibe going. As soon as I stop to talk to someone and they go into detail about what they want to hear and why they want to hear it, all of a sudden they take me out of the groove I’m in, which takes away from the vibe. The next mix I do will be less involved and the crowd will notice, believe it or not. They won’t necessarily think about it like, ‘That mix sucked,’ but just have a moment to consider going out for a smoke.” Put your trust in Whores, kids.

Grimey gets down at the Townhouse every other Tuesday night at 9 p.m. ($10 cover). DJ Whores and Shaun Slaughter’s Heater happens one Friday per month, also at the Townhouse. It’s free to get in before 10 p.m. with an RSVP. You can also catch DJ Whores at the Golden Bear on Saturday nights.

Post from: Submerge Magazine

Twenty-four-year-old professional wakeboarder and West Sacramento native Shelby Kantar has led a bit of a double life the past few years. Arguably one of the top female riders out there, Kantar has traveled to compete in contests all around the world. She was the Pro Wakeboarding Tour women’s champion in 2007, she’s been in magazines and videos, she even jumped out of a helicopter into Lake Powell during last year’s Brostock event. Adventure, excitement, risk and reward: all part of the rock star lifestyle Kantar lives while with her fellow riders.

On the other hand, Kantar is extremely focused on school and furthering her non-wakeboarding-related career. She has already completed her undergrad studies in Kinesiology at Sacramento State, where she is currently working on her masters. “Yeah, it’s like a double life, its kind of crazy,” Kantar says during a recent interview. In fact, when Submerge caught up with her, she was in Redding, working a 40-hour-a-week internship. “It kind of got to the point where I was like, ‘Should I go to grad school or should I do one more year of competing and trying to do well?’” Kantar remembers. “It was kind of like, ‘Well, the girls that are coming up now, their parents buy them a $100,000 boat and they ride four times a day in Orlando and they work out and have personal trainers.’ So I was like, ‘OK, let’s go back to school.’”

Photos by Forrest L. Doud

Kantar brings up an interesting point. In the world of action sports, there are the “rich kid” sports and the “normal kid” sports. Think about it: to go skateboarding, you need a complete board setup from your local skate shop, which will probably run you around $100, give or take, and that’s about it. To go wakeboarding, you’ve got to have a boat, and those are a whole heck-of-a-lot more expensive. It seems impossible, then, for an up-and-coming wakeboarder to make a name for him or herself if their family isn’t well-off enough to buy the latest MasterCraft X-Star or Malibu Wakesetter, right? Wrong. Kantar is a perfect example. When she was 14, her parents bought a boat, but not a flashy, expensive wakeboarding boat that you’d see in magazines; they got a run-of-the mill family vacation-style boat and it was behind that that Kantar was introduced to wakeboarding.

“The only way that I got to ride behind a good boat was because I met someone who was well-off and had one,” she says. “They’d take me out and I’d just pay gas money.” Either that, or she’d hang out on a dock or near the river with her board in hand, waiting for someone to give her a pull. “We would walk down to the river and skim board,” remembers Kantar of her earlier days in West Sacramento. “I would just bring my wakeboard, and I met so many random people that way. I had nothing else to do, and I wanted to get better.”

Kantar started competing in Northern California competitions. Not long after, sponsors came knocking. Now, some of the biggest companies in the world back this local ripper: Liquid Force, Body Glove and Osiris, just to name a few. She has competed at the professional level not only throughout our own country, but also abroad in Egypt, Singapore, Qatar and Australia. Her favorite competition of them all? She claims the Egypt World Cup, even though it was a bit of a flop. “That contest was probably the most fun, because they kind of messed up and didn’t check out the site that they were going to throw it at. It ended up being like in the ocean with waves and the boat hit coral and couldn’t drive the contest,” Kantar remembers with a laugh. So, they found a little pond, rounded up a jet ski to pull the riders and made some makeshift obstacles for them to hit. “They found these galvanized steel posts like on the side of the road and they made a little rail. It was so sketchy, but they ended up splitting all the prize money, and I just drank beer and hit these sketchy rails,” she says, adding, “And I got to see the pyramids!”

This sums up Kantar’s laid-back outlook on contests quite well. Even though she’s done well in them in the past, placing 3rd in the 2007 Wake Games, 2nd in the 2008 Egypt World Cup, 2nd in the 2008 Singapore World Cup, 3rd in the 2008 Qatar World Cup and 2nd in the 2008 U.S. Nationals, she’d rather be out with her friends shooting for a magazine or a video spot any day. “Contests are such a joke,” she admits. “The expectations are kind of ridiculous.”

For the past year or so, Kantar hasn’t been competing, but that doesn’t mean she hasn’t been progressing. “I’ve been having a ton of fun just improving my style, making tricks look better, learning tricks that I want to do, not necessarily what will win me a contest.” She says she and her friends like fellow Liquid Force teammate Danni Petraitis (with whom Kantar was living while up in Redding), would rather stay and film on Lake Shasta or go on a cool trip to ride rather than “sitting around a contest all day and getting like a two-minute pull.”

Kantar’s about to reap the benefits of some of her hard work when Body Glove drops their first ever wakeboard video titled Slick City, in which she is the only female rider. Slick City will be available for world-wide purchase starting July 7, 2010 through action sports media giant VAS Entertainment. The DVD will be available for purchase at local wakeboarding shops and for download on iTunes shortly after. The video has already earned rave reviews from people at Wakeboarding and Alliance, the industry’s two largest publications, making Slick City one of the most highly anticipated wakeboard films of the year. The film follows some of the biggest names in the sport: Rusty Malinoski, Harley Clifford, Bob Soven, Jeff McKee, James Balzer, Daniel Doud (Kantar’s boyfriend) and of course, Shelby Kantar.

Photo by Mark Kawakami | Courtesy of Body Glove

“I didn’t really get to film as much as I wanted to for that, especially my wake section,” she says, noting that since Body Glove is such a large, global company, coordinating the video shoots was hard. She did get a lot of footage sliding rails, though, an aspect of the sport that she is particularly good at and likes. “We built some rails and got quite a bit of rail footage. I really like riding rails, so I’m glad we got that, but as far as my wake riding, I wish I could have done a little bit more for that video.” Regardless, appearing in Slick City will surely introduce a whole lot of people to the style and charm of one of Sacramento’s best-kept secrets.

Kantar has another year and a half of graduate school, after which she plans on buying herself the nice wakeboarding boat she never had when trying to come up in the industry. “I kind of wanted to set myself up to have a normal career so that I can afford all this stuff and I can just free-ride, maybe do some more shooting even though I’ll be pretty old by then,” jokes the young, bubbly Kantar. “The girls that are competing and coming up now are so young, I feel pretty old, as sad as that is.” Contests or no contests, old or not old, Kantar says one thing is for certain: “I’m going to get my Malibu boat, and I’m going to shred.”

Body Glove’s wakeboard film, Slick City, featuring local Shelby Kantar will be available July 7. Kantar can also be found coaching lessons at the Delta Wakeboard Camp.

Post from: Submerge Magazine

Stolen gear, finicky crowds at shows and an anxiety toward giving his music to anyone he doesn’t call “friend” are just a few of the reasons Dusty Brown feels like this city is killing him. If the local scene is the cause of his suffering, why can’t Dusty Brown abandon Sacramento?

His insularity could be his greatest downfall, but in that apprehension to be seen or be the scene, he’s surrounded himself with friends within music who will gladly step in to exalt his art. After turning over a little five-song EP to his friend and electronic-colleague Scott “Tycho” Hansen, Dusty Brown was uncertain of his friend’s intentions. Hansen’s artistic talents stretch beyond his propensity for finely crafted down tempo IDM. Hansen fashioned the This City Is Killing Me with artwork based on photos by Raoul Ortega and put it on his ISO50 blog for free download.

Hansen was not bashful in introducing Brown to his fan base, as the post was accompanied by a three-paragraph salute to Brown. Hansen wrote, “I’ve learned more about music from Dusty than anyone else; his production style and methods are truly awe inspiring.”

Brown’s career arc illuminates the thought process behind naming a collection of songs This City Is Killing Me. After the dissolution of the electronica scene, Dusty’s band, consisting of his sister Jessica and cousin Zac, had its live equipment stolen in 2007. To recoup the losses, the band put out its Hope You’re Happy LP. “It succeeded in getting my money back to the dot,” he said. “I put a post out thanking everyone and the sales literally dropped flat, which was…great.” Since that record, the group limited itself to the studio and the occasional gig at The Press Club or The Hub.

Brown spoke as though he’s a man out of his proper time. He married at 18 years of age and now has four children with one more on the way. Brown said he understood the music business some in the ‘90s—the tour and make connections plan—but as a family man with hermetic impulses, he never thought that giving his music out for free would put a buzz into the band again. “Twenty-five hundred people downloaded it within three days, when before I was lucky to get one or two people to hit my Web site in that time,” he said.

With one stamp of approval blog post from Tycho, the band Dusty Brown went from strictly known in Northern California to receiving coverage from national music Web sites like XLR8R, Pitchfork Media and Yourstru.ly.

“It was a pretty incredible feeling that week,” Brown said. “Coming from a Sacramento guy, who nobody literally knows who we are outside of Sacramento, to have people donate from the Dominican Republic is crazy. The fact that it reached so many people so quickly, shows the old model of touring for months for people to hear your music is completely gone.”

The instant gratification benefited Dusty’s creativity, as he’s eager to finish a new full-length that’s nearly completed. And with the couple-hundred donated by downloaders of the EP, he’s toying with the idea of pressing This City Is Killing Me on vinyl.

Dusty Brown might be riding a high wave this month, but he’s grounded enough to recognize he still lives in Sacramento, a city that from his perspective is still trying to kill him. He played a capacity night with Tycho at the first annual Sacramento Electronica Music Festival in January, only to play again a week later to three people. “This month the NBA Finals will be the reason no one comes out,” he said. “But, I’ll end up playing for a random hippie that doesn’t care about sports.”

He went on to say, “I feel like there’s a superficial love for live music [here]. The minute you feel like it’s authentic you realize it’s not.”

It’s those one-off nights of capacity crowds, that lone hippie appreciator and the seclusion of Sacramento, where his family lives, that keeps Dusty Brown among us. He said that for all the depressive tones his music can take, he often describes it as “melancholy electronica.” “I’m not a very emotional person, so when it comes to music I kind of let it go a little bit,” Brown said. “I’m sad, then I’m pretty happy about the fact that I got over I was sad.”

This City Is Killing Me is Dusty’s passive aggressive bout with the naysayers that have hurt his feelings. But it’s when his sister Jessica takes cues from his sounds and applies them to her experiences that the Dusty Brown music finds its plateaus of euphoria. “I wouldn’t say we’re completely connected, but I think she listens to the frustrations I have,” he said.

At five songs the EP is concise, overlapping tones and instrumentation; but for every brooding moment, the band releases the tension with bursting chorus lines on “How’s That” or the glimmers of hope in the refrain of “Back to Back” as Jessica sings, “As we remember the light in our dark past.”

With the small window of hype surrounding This City Is Killing Me, Dusty said he’s ready to push ahead with the mountain of music he’s been keeping in the vaults. Dusty once employed a writing method in which he wrote three to four new songs for every live set, instilling a prolific work ethic. My phone call interrupted a recording session with Steve Borth of CHLLNGR, who uses Dusty’s home studio whenever he’s in town. In his three years of recording silence, Dusty produced a hefty chunk of the upcoming Who Cares record and prepared several EPs with Jacob Golden under the group moniker Little Foxes. “That EP was just a precursor to a full-length album,” he said. “I’ve got mass amounts of music I need to get out before the end of the summer because I’ve got a baby coming.”

Brown framed the buzz around his EP as “not much” in comparison to what most artists receive, shaming himself for strictly showing his music to people he deems “friends.” I jokingly asked if, after this surge of releases, it would be another three years before we hear from Dusty Brown again. He followed up with an anecdote about a night in the studio with Who Cares: “I was playing them some of the music I’d written over the last 10 years. I didn’t realize two hours went by. I wasn’t even halfway done. I’m starting to think I should create another name just to release all this lo-fi drum ‘n’ bass and hip-hop I wrote.”

Why not?

Catch Dusty Brown with Paper Pistols at Capital Garage on Saturday, June 26. Or you’ll be able to see them at their EP Release show Saturday, July 17 at the Townhouse.

Click to download Dusty Brown’s This City Is Killing Me

Post from: Submerge Magazine

In an era when single-song downloads are dominating music sales, dropping a two-hour opus sprawled over three discs is probably the worst possible business decision. But if you’re holding your breath hoping Joanna Newsom is going to dumb it down so she can sell a few extra tracks on iTunes, you might as well exhale.

Have One on Me, the Nevada City singer/songwriter’s third album, isn’t just remarkable for its heft, but also for its craft. The album spreads 18 songs evenly over three discs with nary a chorus to be found. This is free verse poetry set to meandering, richly layered music, making this album an intimidating listen. However, those lucky (or brave) enough to immerse themselves in Have One on Me will be rewarded. Elegant string arrangements, spare percussion and Newsom’s virtuosity on her signature harp work in perfect concert with Newsom’s intimate vocal performance. Spend time with Have One on Me, and it will certainly spend time with you.

Newsom’s approach may be avant-garde, but her subject matter is familiar. Much of the landscape of the album is rooted in Northern California. The title track alludes to Irish-born dancer Lola Montez, for whom Mount Lola, the highest point in Nevada County is named; and “In California” references Milk Lake, also in Nevada County. In more general terms, subject matter treads the well-worn paths of love, God and death. But Newsom can paint even these commonplace themes in the freshest colors. In “Easy,” Newsom sings sweetly in an ode to a lover, “Honey, you please me/Even in your sleep,” before closing with the eerily endearing (or perhaps just plain eerie) lines “You must not fear/You must meet me, to see me/I am barely here/But Like a Bloody Mary/Seen in the mirror: Speak my name/And I appear.” “Ribbon Bows” struggles with questions of the divine. Newsom ponders, “God, No God. God, No God. Sweet appraising eye of the dog, blink once if god, twice if no god.”

Similarly, there are no easy answers on Have One on Me. Everything’s open for interpretation. Newsom’s lyrics sheet, wonderfully laid out in this beautifully constructed box set, has as many twists and turns as her music. It’s worth the extra digging to discover the roots of the songwriter’s more esoteric references—at the very least, Have One on Me could very well expand your vocabulary.

Sonically, the album shows a different side of Newsom. The pixie-led forest nymph found on her previous full-length Ys seems to have ditched the moonlit meadows for grittier environs. Songs such as “Soft as Chalk” and “Baby Birch” have more in common with Cat Power’s The Greatest than they do with pastoral poetry. And the change of tone has done Newsom well. There’s a directness and confidence in these tracks that provide real punch, ensuring that this lengthy album never becomes too wistful.

Not surprisingly, some of Have One on Me’s most alluring moments occur when Newsom puts down the multi-instrumental arrangements and relies simply on her harp and voice. “‘81” is one such number on which Newsom makes measured, cascading rolls across her harp, singing in her alluring falsetto, “Meet me in the Garden of Eden/Bring a friend/We are going to have ourselves a time.” Well, with an invitation like that, there doesn’t seem all that much to be intimidated by now, does there?

Post from: Submerge Magazine

With numerous critically acclaimed albums already under their belts, Mukilteo, Wash. progressive rock trio The Fall of Troy are gearing up for their next release on Nov. 28. Phantom on the Horizon is a 37-minute-long collection of work divided into five chapters. Previously known to fans as Ghostship EP or Ghostship Demos, this album is a new take on old material.

Submerge recently caught up with Erak as he prepped for the tour from his home and talked about everything from the concept behind Phantom…, to message board trolls and his love for certain Sacramento bands.

How do you guys prepare yourselves for a tour like this?
Our bass player gets back in town from San Diego today and we’re going to start practicing. This tour is a lot different from the other tours we normally do, because the other tours we normally do are a mix of songs that span three or four records’ worth of material and on this one we’re going to be playing the new record front to back.

Tell me about the story behind Phantom on the Horizon.
It’s a fantasy story that has a lot of parallels; it’s very open to interpretation, though. I’ve been working on it for the last four-and-a-half years, as long as we’ve been working on the songs. It’s about a sailor that is on a ship with a crew of guys and they encounter a ship from another dimension, and he kind of gets trapped on that ship and encounters a lot of things in all these other dimensions that he passes through. I’m thinking about writing the whole short story out like maybe in a couple months and maybe try to put that out in one way or another.

How did an idea like that come about? Are you guys into comic books or sci-fi or what?
Our drummer is a sci-fi nerd, but I’m just a writer, you know? I play music and I write songs, but I used to write a lot of short stories and poetry and stuff like that. I guess it just kind of came from the love of writing and art; you know what I mean?

Yeah, it makes perfect sense for you at this point in your career to put the two together: the story and the music finally together to create a “concept record.”
Right. It’s also not your run-of-the-mill concept record, either. It’s very open to interpretation and you can kind of take whatever you want from it, and that’s kind of the way I like things. I don’t think anything with music should be too black and white; there should be some color in there. That’s what art is; it’s what it is to you. It shouldn’t be just straight up like, “This is what it is, and this is how it is!”

Are there any new tracks included that weren’t on Ghostship EP?
Well, in between every song there is a segue that we actually took from a long session of improv that we just rolled tape on. Everything totally flows together. There has never really been a good recording of “Part II” and there’s never been a recording of “Part III.” It’s just very mature, and the songs are in their entirety now as opposed to being demos of them.

I read some message boards online where kids were getting kind of pissed at you guys and saying things like, “They shouldn’t re-record those songs, they will fuck them up!” How would you respond to them?
Um, “Fuck you!” [Laughs] Quite honestly, fuck them, and they don’t know what they’re talking about because those demos were never even made to be heavily in syndication in any way, shape or form. They were demos we did when I was 19 years old that were supposed to just be for us and they got out. I mean, this record crushes those demos.

If you’re going to sit on the Internet and bash anything, go outside or go read a book or go to a concert or listen to a record. Do something other than sitting on a message board or Myspace all day.

I guess they’ll find out, won’t they? There’s always going to be haters, man. The haters are going to hate.

You’ve toured with two of Sacramento’s more notable acts, Tera Melos and Deftones, on different occasions. What’s your take on Sac? Have you spent a lot of time here?
Oh yeah! The whole Northern California area we are pretty familiar with and have a lot of friends. There is a lot of good music going on in Sacramento. You know, Hella and stuff like that; there is a ton of good shit. Yeah, I love the Deftones, and I love Tera Melos.

Post from: Submerge Magazine

Northern California’s very own hip-hop/reggae fusion group, SouLifted are turning heads with the release of their new full-length album Higher. The group seamlessly blends classic hip-hop sounds with reggae, jazz and soul embellishments. The result is a unique sound that all walks of life can enjoy. “It is music from the Earth for the people—a natural reaction to the world we live in and the things that influence our lives everyday,” explains Intalect1, who sings, raps, plays the melodica, turntables and assists with the production of their recordings. He continues by saying, “That is why each song we make is dynamically different in its own way. We believe in progression and that is where Higher came from.” Submerge recently spoke with Intalect1 about the beauties of self-producing their record, positive messages and starting a mosh pit in the streets of San Francisco.

First off, what happened with your other group Heart, Life and Soul? You and Lady Grace [vocals] are still doing that right?
Yeah Heart, Life and Soul will always be a part of what we do. That is where it all started for us, and we have a lot of unreleased material. We even play a few of our HLS songs during the SouLifted shows. We look forward to putting together a new HLS album that is produced by SouLifted, utilizing the talent that this group has with production and instrumentation. Right now SouLifted has really come together though, so that has been our primary focus. We need to spread the word that SouLifted is here and still pay homage to our roots.

So, how did things get to where they are now with the current SouLifted lineup?
Well, Zebulon [vocals, drums, production] and myself started making music together quite a few years ago. We did a few tracks together and they always turned out good. Our styles are different but they compliment each other well. DJ BePhlip [turntables] has been DJing with me since we first got turntables when we were like 15. We taught each other how to scratch and mix and he just took it to the next level with the turntables while I always focused more on the songwriting and emcee side of things. It was only natural for Lady Grace and I to work with these guys.

We actually met up with the rest of the crew from working at the Guitar Center store in Roseville, five of us actually worked together in Pro Audio at one point. Brian [Fleshman, keys, drums, production, vocals] and Zeb met first, and he automatically fit right in with the crew like he was always a part of it. Brian had some great production skills and his unique songwriting seemed to be the missing link for the group to really come together.

Scott Rodell [keys, guitar, vocals] and Steve Leonard [bass, guitar] are the two newest additions to the group and they have really added to the SouLifted sound. Both of them are very talented multi-instrumentalists and they often switch instruments throughout our live sets.

That’s a large group! Where do you all live? What do you consider your “hometown” as a band?
We consider our “hometown” to be the Foothills. We all live between Auburn and Sacramento pretty much but we definitely rep the Foothills. It is a beautiful place to be, and we all somewhat grew up around here. Zeb is from Georgia, Brian has lived in Florida and Canada, Lady Grace in Arizona, and Scott on the east coast too. I was born in Sacramento, so I got to show my love for Sactown!

How would you describe SouLifted’s style of music? Is it hip-hop first then reggae, or vice versa? How does it differ from Heart, Life and Soul’s sound?
SouLifted is a musical melting pot with many different styles of music but it all revolves around our hip-hop roots. So yeah, at heart we are a hip-hop crew but with so many diverse influences. But that’s what hip-hop is all about—taking what ever you have and what you love and turning it into something unique and full of self expression but still from the street. We definitely do add a strong reggae element to our sound, but not as much as with the HLS music. SouLifted seems to blend all of our different musical interests into one dynamic style of sound. Zeb’s got that classic hip-hop style mixed with some experimental and pop sounds, and he is also an amazing drummer. Brian is like a composer, with more of an electronic background and melodic style, with skills on the keyboard and drums. Lady Grace has that soulful voice and adds some spoken word poetry into the mix. Scott’s music has a jazzy, classic rock feel—almost like The Beatles meet the Beach Boys with a more edgy indie sound. BePhlip comes from a hip-hop turntablist background, but spins all kinds of music. Steve plays in a funk band, a cover band and a more rock-style band, so he can pretty much play anything. I have more of the reggae and dancehall sound, but I have always mixed in a hip-hop style. So although the hip-hop and reggae influence is really apparent in our music, SouLifted cannot be defined by one or two genres.

How long did Higher take to complete? How was self-producing it?
We started Higher toward the end of 2006 before we even realized what it would become. We started recording some tracks together and decided that we were going to put a new project together. Everything just fell into place from there and the album really started to take shape in 2007. We are all pro audio guys so we have had some good experience with recording, engineering, mixing, and mastering. We actually recorded the album ourselves in three different small studios with most of our own gear. It was really amazing to be able to self produce this album because it gave us the ability to make it sound the way we heard it. We spent a lot of time mixing the album and adding the subtle effects and instruments that make it such an interesting album, I know there were times when Brian and Zeb spent a couple of days straight just working on one song. So it was a grueling and intricate process, but very rewarding! We all put our creative input into this album and that is what makes it so unique and original.

How is the “Soul’d Out Tour” coming along?
The tour has been very successful so far. It is all self booked and promoted just like our record- independent. We played two nights in Tahoe at the Biltmore, and that was a lot of fun. It’s crazy when the place doesn’t close and they serve alcohol all night; it’s like the party doesn’t stop. None of us are really big drinkers, but we can definitely hold our own! It was real dope to see our name on the marquee for the 1st stop on our tour. Definitely a good weekend with good shows both nights. San Francisco was the next stop and that was amazing! We played for four hours straight on the streets of PIER 39 right in front of the Hard Rock Cafe and the response from the people was beautiful. We had consistent crowds of all ages and ethnicities that at times reached over 400 people, and we sold the entire box of 100 CDs that we brought. There was also a crazy group of dancing teens that rocked out with us and we even started a small mosh pit in the street. We did a small radio show after that back in Nevada City for Aaron Eisenberg’s Skaters Paradise show and that was fun too.

One thing I’ve been very curious about is how you guys find inspiration for such positive lyrics in such a hard time with the economy going to shit, gas prices going through the roof, etc. How do you deal with all that and still keep your message so positive?
That is what SouLifted is all about. Exposing these day-to-day conditions and showing people how to go “Higher” to elevate above and beyond them. We are all influenced by these harsh living conditions everyday, but music is the way that we express ourselves and spread our message to the people who need it most. Too many people, especially the youth are misguided by the media (popular TV and radio) and we want to open their minds to some real issues that most pop groups won’t cover. We have always tried to keep the message positive, but we also need to speak the truth. So not every song is about 1Love or peace and unity, our songs are about real issues that affect our lives. It’s also hard being an independent group in today’s economy… With gas prices going through the roof we need to start finding more sustainable ways of transportation. We carpool as much as possible! Overall, we have to strive to be ourselves and keep our heads high despite the way our system will try to mold us, and we have to be positive role models for the youth of the world that will be the next generation of musicians and politicians. If we make a change today, they might listen tomorrow.

Post from: Submerge Magazine