As cofounder of the funk/experimental rock ensemble NOMO, Elliot Bergman has worked day-and-night to refine what has already been heralded as a unique and forward-thinking sound. In the time that Bergman has spent with NOMO, the collective has released four well-crafted albums, three of which have been released under the famed Ubiquity Records imprint. Each project explores a wide range of sounds, and combines a warm blend of rhythms from a diverse catalogue of inspirations?from the pulsating afro-centric backbone of New Tones to the wonderfully melodic haze of Invisible Cities. And whether he?s firing emails back and forth with producer Shawn Lee or hunkered in his workshop making kalimbas, Bergman is always looking to continue that expansive march forward for both NOMO and himself. Bergman?s DIY attitude has quite a history behind it and it?s no surprise that a big part of his creative development started here in Chicago. Centerstage recently caught up with Elliot to discuss his past, and the many projects that await him in the future.

Could you tell me a little bit about where you grew up and how you got interested in music?
I grew up outside of Chicago in a musical family. My mom played the piano and guitar, so lots of my first experiences with music were playing with her. We played hymns and standards and some classical repertoire. She would play the piano and I would play the clarinet. She really pushed me to play until I came to love it on my own in high school. I remember a moment when we played through Gershwin?s jazz preludes, and after finishing it, I said ?music really is the best thing in life.? She just smiled and nodded.

You and members of NOMO studied at the University of Michigan, what was the learning environment like while you guys were there?
U of M was a great place to be. I had amazing teachers, and the learning environment is very open and supportive. It was a great mix of structure and freedom. My teacher Ed Sarath has a wonderful approach to collective improvisation, and he implements those ideas in the Creative Arts Orchestra, which is a large ensemble that only plays improvised music. I also had amazing experiences working with Antoinette Kudoto, who was a visiting master drummer from Ghana, and Wasi Bantolo, who led the Gamelan orchestra.

Stylistically NOMO has been strongly associated with afro-beat and afro-rock, but you guys have been known to incorporate a lot of different influences and sounds. How would you best describe the group?s style?
We don?t like to get stuck in those afro-whatever sub-genres. It?s such a small part of music. There are so many sounds and structures to explore, so we are trying to expand our sonic vocabulary all of the time. We play instrumental dance music that?s rhythmic and uplifting.

When you guys perform live it?s a pretty visceral experience, what?s the process like for you in terms of translating that experience onto a recorded album?
The band does have a great energy live, and so we try to catch that spirit when we are in the studio. On the past few records, we?ve been arranging as we go, so the record almost comes together before the band has really played the song live. Then you go out and play the music hundreds of times, and you wish you could record your album all over again with some of that new energy. We work on the records to make them sound like a record, rather than a document of the live performance, so I like to think of it as two distinct facets of what NOMO does.

You?ve had the opportunity to work with Shawn Lee. He?s pretty prolific, what was it like working with him?
Shawn is great. We?ve actually never met face to face, and we?ve just been emailing tracks back and forth across the pond. I?m looking forward to meeting him at SXSW this week. He is incredibly prolific. I sent him a kalimba loop, and within a few days he sent me back an amazing track where he had added drums, synth, bass, steel drums etc. I?m hoping that we can get some more music happening soon.

Your sister Natalie adds some amazing vocals on ?Upside Down,? are you guys going to collaborate more often?
We have been working on a new record. We thought it was going to be the new NOMO record, but it has turned into something completely different. It?s more song based, and all of the tunes are vocally driven. I?m very excited about it. Lots of drum machines and synthesizers, plus some of the more organic sounds we usually work with.

In addition to you and your sister being talented artists your other sister Elise has strong roots in Chicago as a designer. Did you grow up in a household that really embraced the arts?
Yeah, we are all involved in the arts. We?re very close, and it?s really fun to collaborate with all of my siblings. Elise is working on some new NOMO shirts.

How has Chicago influenced you personally as a musician?
There is such an amazing jazz scene in Chicago and the history is so compelling. I grew up admiring the AACM and listening to the music of the Art Ensemble, Roscoe Mitchell, as well as Ken Vandermark and Tortoise. There is an amazing work ethic and integrity in a lot of the music I love that comes out of Chicago. It?s constantly inspiring to me. I?ve had the honor of working with some of my favorite Chicago musicians. NOMO was able to play with Fred Anderson and Nicole Mitchell at the Hideout Block Party, and then Nicole played on our New Tones record, and Hamid Drake played on our Ghost Rock album. He?s really a hero of mine. He?s one of the most amazing drummers, and also one of the warmest people you could meet.

Outside of NOMO you all stay pretty busy with solo projects and various collaborations, what?s it like when you guys come back together from those efforts? Is there a melding of styles or do you give NOMO its own space to breathe?
Everybody in NOMO is developing their own music, and we are all growing as musicians. We definitely try to make space for people to have their own distinct voice, so naturally the music will evolve as we all change. That said, we?re not trying to synthesize the sounds of all of the bands we are in. NOMO has a realm of possibilities that we are excited to explore for years to come.

It?s been around two years since NOMO released a full length, what have you been working on in between and is there a new album in sight for 2011?
I moved to Brooklyn, and have been keeping very busy out there. I?m playing with lots of new people and trying to get some new projects going. I?ve been playing as Metal Tongues, which is a band that?s centered around kalimba loops and tends to be a bit more free and experimental. I?ve also been touring a bit with Iron and Wine, and right now I?m on tour with Janka Nabay and the Bubu Gang. I need to get back to work on the new NOMO record!

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Fly Phoenix is a five piece band made up of Brandon Rizzo (vocals), Nicholas Jacob Lacy (guitar), T. Berry IV (bass), Bryant Polk (keys/piano) and Ben Cofresi (drums). Together they blend elements of funk, jazz, rock and hip-hop into a steady, heart-pounding groove, worthy of any soul enthusiast?s attention. In one instant Fly Phoenix conjures up feelings of old school funk and in others they break through with a remarkably fresh and forward thinking contemporary vibe. The risk of being an all encompassing band is that the music can become convoluted in trying to pay homage to too many styles, but for Fly Phoenix it couldn?t be further from the truth as their signature sound always manages to resonate. Recently they?ve been busy performing at some of Chicago?s finest venues, and they seem to be carving themselves out quite a niche. Centerstage connected with manager Phil Rizzo for a proper introduction.

How did you guys meet? Were there any other variations of Fly Phoenix other than the group we see today?

The group was formed by Brandon Rizzo and Nick Lacy. They met randomly in Chicago and Brandon was introduced to two of the other members. At that time the band consisted of a different keyboard player who was a good friend of ours. The final piece was added months later when Ben was introduced to the band by another random occurrence. The newest member was added in 2010 to take the spot of the keyboard player.

You mix together a multitude of genres. Who are some of your inspirations?
The band has an array of inspiring artists that impacted them both collectively and individually. A few of those are The Roots, Robin Thicke and Incubus. Many of the styles that make up the band are a direct result of the kind of depth that inspires the band; soul, rock, funk, jazz, and hip-hop.

When blending together various genres and elements you run the risk of losing focus and sounding watered down, how do you avoid the trap of being an ?everything? band?
For us, it?s more a matter of providing the spark that is the Fly Phoenix sound. When you hear it, it?s a recognizable mark of our music and the challenge is making sure that it is there in the songs we create. We feel united on what the music is and the challenge for us has always been getting that mark to come to the surface of our music.

What are some of the things that inspire Fly Phoenix?
Fly Phoenix is a mantra for finding newness out of the monotony, whether that means music or life in general. Inspiration is everywhere and the great part of this band is we draw from the experiences in life and the marrow that comes out gives us inspiration. People, love, change, unity, and respect are things that inspire us.

Describe your sound?
Alternative soul; mixing elements of rock, funk, jazz, and hip-hop into what essentially at the core is soul music. The alternation of musical elements from those presents a different flavor to that soul vibe.

In addition to playing experience you also have experience on the business side of music, how has that helped you?
It helps you grow as an artist and as a person. Managing that part has helped us develop our niche. You get a better understanding of how to market and book shows the right way.

You?ve been performing quite a bit lately; do you have any favorite venues?
We have enjoyed playing all over the city of Chicago, and are making way to step into other cities but we always love performing at places like The Shrine, Reggie?s and the Metro.

Other than performing do you have any other favorite Chicago-centric activities?
We love attending city festivals and events, hanging out and exploring the city. We definitely love the beach.

What else can we expect from you guys in the near future?
Fly Phoenix will be releasing their first single “Glory” on I-Tunes. It was recently used by ECHO fashion magazine in one of their promotional videos. We will also be filming a show for a PBS special on March 25th at Mayne Stage. This event is a fundraiser for the Chicago food bank. Columbia College will be awarding Fly Phoenix a special achievement award on March 11th during the Columbia?s got Talent event, too. Fly Phoenix will also be doing a benefit for the Camp of Dreams benefiting under privileged youth on May 12th at the Chicago Cultural Center.

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It’s Valentines day everyone! So this mix goes out to all the lovers and would-be lovers out there.

So it’s been a whirlwind couple of months and we’re in to another New Year. So to everyone in Sydney and Melbourne that I met over New Year, you are all amazing, especially the crowds at Rising, Daywash, Rogue, Trak and Lovechild.
Lovechild has just celebrated it’s 2nd Birthday, this international brand is reaching out across the globe, it’s special to be a part of it. January’s Lovechild was simply amazing, if you missed it, here’s a peak at what you missed:
http://www.blip.tv/file/4656787/

I have a feeling that 2011 is going to be a great year, I hope you’re with me on that one.

“If music be the food of love, play on” – Shakespeare

Tracklisting:
1) Let It Rain – DeLacy & Marco Gee (Danny Dove & Steve Smart Remix)
2) Devil Walking – Mark Knight
3) Unleash My Love – John De Sohn and Nick Wall ft Christina Skaar
4) We (Eloise) – Carlos Gallardo & Bobby Alexander (T. Tommy & DJ Nano Remix)
5) Habanero – Simone Tavazzi
6) Cross The Line – Chris Lake & Marco Lys (Club Mix)
7) Souk – Jay C & Felix Baumgartner
Dangerous – DJ Jesus Luz & Alexandra Prince (Manuel De La Mare & Alex Kenji)
9) Drop That Beat – Andrea Bertolini
10) Memi – Martini & Bini (Dance Disco Heat 2011 Simone Cattaneo & Alex Gardini)
11) My Love Is Deep – Sara Parker (Rachel Ellektras Manifesto Magic Mix)
12) Just a Dream – E-Play & Hype Jones (Peter Brown & Etienne Ozborne Remix)
13) Niton – Eric Prydz (Club Mix)

If you enjoy this podcast:

1. Let me know, you can find me on Facebook at http://www.facebook.com/pages/DJ-Phil-Hewson/101597226575891
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As an emcee and label exec, Cesar Zamudio, has worked tirelessly to represent the city he loves most. Cesar (also known as Visual) grew up in Logan Square where he was exposed early on to the many cultures the neighborhood had to offer. The cultural crossroads provided Visual with a sensibility that most emcees overlook, which is the commonality between all people. Visual?s work is both a firsthand account of the city?s blue collar work ethic, and the colorful people who populate it. His album Working Class Legend is his homage to those inhabitants, and it?s a Chicago inspired project from beginning to end?from the no-frills lyricism to the solid breakneck boom-baps. As of late Visual has been steady on the grind and his newest album Working Class Legend: Overtime is giving locals something to be excited about.

You grew up in Logan Square, how did living there shape your style?
Logan Square influenced me in a major way because it has always been very diverse. I went to school with people of all backgrounds and that kept my mind open to different cultures. I think it’s what has made me universal in a sense that my music choices in production vary. And as far as lyrical content goes no matter the subject matter and my range, the reoccurring theme in my music is always going to be people: How we live, what we go through, how we overcome it and just the general way of life.

When and how did you first get interested in hip hop?

I didn’t discover hip-hop like a lot of other people did. For me, it was always there. My brother brought home either the Breakin? or Beat Street soundtrack on vinyl when I was like five or six. It was that, LL Cool J, The Fat Boys, Slick Rick, Eric B. & Rakim and whatever else he could buy or borrow from friends. So, me being the youngest in the house I naturally gravitated to the music I heard playing. It was pretty funny because my brother would bring home these records and try to scratch and he would just break the needles and my father would just snap!

Being the younger brother of Panik, I?m sure you?ve had to work hard to carve out your own niche. What have been the benefits and downsides to having a brother already established, and what have you done to establish your own identity outside of his influence?
The benefits have been the experience. When I was younger I would follow my brother anywhere I could. I would tag along to his friend?s houses, record stores and eventually parties. Back then hip-hop in Chicago had the feel of a real culture, it was in its beginning stages and I was there to see it develop. That has been the biggest benefit. When I first started recording music, I was realistic and knew that I wasn’t ready to make albums and travel around to perform so I become very involved in the career of another artist. I booked shows for him, was part of the recording process for his first album and I helped release his first album. After a few years, I decided to take that experience and use it for myself. It was difficult to establish myself because I quickly learned that I did not feel comfortable having other people do things for me. Since the beginning I contacted the press for reviews and interviews, I went to the retail stores to drop CD’s, I booked my own shows, I made all the phone calls and sent out all the emails. I even had to start a record label because I had no one to put my music out for me. So since my first release in 2000 which was an EP, I have been working hard to make my name known.

The Chicago hip-hop scene can be one of the most difficult places to establish yourself, what?s your take on the scene here, and how has it changed throughout the years that you?ve been performing?
I like where the scene is at right now. I like the diversity. I see more rappers not afraid of being artists. At one point Chicago hip-hop was either gangster or backpack/underground. That was it, no middle ground. Now the music I’m starting to hear is what I knew we all had in us because it’s what’s around us. We needed to find a way to be who we are in our everyday life, in our music. Most rappers are way bigger than life and I never believed Chicago people were like that. We don’t have a Hollywood here or anything on the level of New York and I’m ok with that. It’s not who we are as people. We’re blue collar, working class people that make things happen no matter our situation. I’m starting to see it in the music. We also have a lot more people making moves now than we did before. We’re more business orientated. When I first started doing shows we were all still learning about business and we didn’t have too many people to learn from so we mostly learned from each other. I think hip-hop is here in Chicago now.

Many lyricists have a goal or a creed they abide by, what?s yours?
Mine is simple: Truth. Life is what I want to tell about: Stories I’ve heard, things I’ve seen, ideas I have, places I want to see, love, hate, pain, joy. I don’t ever want hip-hop or me being a rapper limiting me in any way. I’m always going to do whatever I want as an artist. I don’t want to be too concerned with a sound or formula. I’m not manufacturing music. I’m putting a piece of me into every project.

Could you tell me a little bit about the Working Class Legend albums and Community Service Records?
Well, Community Service Records is my label. It’s all me. I handle all the daily operations of the label and I’m the only artist on the label. It was created so I can release my own music without having to wait for a deal or chase another independent to do it for me. Working Class Legend and Working Class Legend: Overtime are my last two releases. The latter is a remix album that features a handful of remixes of the original album along with four new songs. I’m very proud of both releases because they have shown my growth as an artist. Both albums are available on major online retailers including iTunes, Amazon and even straight from your Sprint or Verizon phone.

When you?re not working, what are some of your favorite places here in the city to let loose and relax?
Lately, I’ve being going to Lockdown Bar & Grill a lot. I have a few friends who live nearby and I’ve had my last few meetings there. Good food and a good variety of drinks. I love the variety of restaurants we have in the city so I’m at a different one whenever I get a chance. A couple of my favorites right now are Urban Belly and Chick Pea

When can we expect a new album to drop? Anything else we can look forward to in the coming year?

For the past couple of months I’ve been working on my new album. It’s a very different project than what I’ve worked on before. I’m taking more time with this and involving more people in the process. I’m used to handling all the writing, arranging and production myself but this time around I am reaching out to various people in my circle. And right now I’m starting a series of songs entitled ?Chicago Hip Hop History.? They are basically memories and moments put into song form to help give some insight of Chicago’s hip hop scene to some of the up and coming artists.

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What had originally began as a simple desire to release good music, independent hip-hop label, Fieldwerk Recordings, didn?t actually come to fruition until founder David Humphries (aka Crushcon7) took the initiative and started releasing his own work. It?s been that blue-collar mentality and passion for hip-hop that has sustained Humphries? efforts here in Chicago, and one that’s turned Fieldwerk Recordings into one of the most well respected labels in the city.

It?s been two years since Fieldwerk officially debuted, and throughout that time it has accumulated a formidable roster; releasing projects with producers Zavala, PNS, Meaty Ogre, Void Pedal, Maker, Joe Beats and DJ Pratt. At this point it seems like the Fieldwerk family is ready to take things to the next level, so Centerstage caught up with Humphries to talk about everything from the label?s early history to the stellar projects on deck for 2011.

Could you tell me about how/when the label came to be? Was it something you guys had planned out from the beginning or did you just let it grow in its own way?
Both to a certain degree. Fieldwerk existed in name only and as an idea a couple of years before putting the first record out. I moved to Chicago in January 2003 to start a label which has always been my main objective. Around 2005/2006 I met Alex Zavala who has played a pivotal role in the development of Fieldwerk.

In June 2009 I released a 7″ of two songs I produced on Fieldwerk making it the label’s debut release: Crushcon7 feat. I Self Devine “Fieldwerk” b/w Crushcon7 feat. Skech185 “Letters From The Low End” (FW-701). The first 7″ was followed by the split Grayskul 7″ in July 2009. Initially Maker & Zavala planned on releasing a split instrumental 7″ but at the time both artists were involved in projects with Grayskul: Maker producing Graymaker and Zavala working with Onry on Dark Time Sunshine.

Zavala came up with the concept of releasing the split Grayskul record which pairs JFK with Maker and Onry with Zavala. The Grayskul 7? is the first release with art direction by graphic designer Adam Garcia who has designed all of our releases to date.

The first two 7″s built the label’s momentum and led to PNS & Zavala’s split instrumental LP ‘Canciones Modernas’ which really helped establish the label.

What went into that decision of splitting the projects and is it something you guys are going to try and do more often?
The split instrumental LP series began with PNS and Zavala’s ‘Canciones Modernas.’ PNS and Zavala had discussed putting together a split instrumental record and it was a project that I wanted to release on Fieldwerk. Right after Canciones I contacted Meaty to line up the second split LP to feature instrumentals by Meaty and myself (Crushcon7). The split instrumental LP series will most definitely continue. The next split is by Maker & Joe Beats and will be released early 2011.

How much say do you have in terms of the direction of the album or do you let the artist have full control?
I think it?s important for the artist to have a lot of creative freedom when it comes to their music. Overall the releases have been a collaborative effort between the artists, art director and Fieldwerk. Adam Garcia has acted as art director on all of our releases so far. He?s done an amazing job at designing record covers that translate the music very well.

As an independent label what have been some of the biggest obstacles you?ve had to overcome?
Intially, as with most start-ups, there were financing issues that made my life really stressful. Right now, after having a successful first year, it’s managing the growth of Fieldwerk and expanding.

How does Chicago play a role, or rather influence you, in the way you guys operate?
Man, I love Chicago. I feel like my experiences here have helped me grow as a person and given me a lot of direction. My biggest influences have been the friends I?ve made here.

What have been your favorite collaborations so far?
It?s impossible to pick one favorite. They’re all really dope and special and unique to me in their own ways. The Grayskul 7″ is a favorite because “Mod Volatile” is the first collaboration between Onry and Zavala (Dark Time Sunshine). ‘Canciones Modernas’ is a classic…

I’m really excited about the releases that are coming in 2011. Void Pedal’s Omni-Colour full-length, Maker and Joe Beats’ split instrumental LP and also a Zavala project. We’ll also be continuing Fieldwerk Night at Subterranean Lounge the first Friday of every month featuring guest DJs and producers/beatmakers. You can visit fieldwerk.com for updates on everything Fieldwerk.

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You can still hear some high-quality tunes on New Year’s Eve in Chicago. Here are our picks for the best:

Blue Chicago

536 N. Clark St. (at Ohio), Chicago. Featuring the Linsey Alexander Blues Band with Patricia Scott, $20. (312) 661-0100 or www.bluechicago.com.

Northlight Theatre

8 p.m. Dec. 30-31, 8 p.m.: New Year?s Eve with E. Faye Butler and her combo present jazz, pop, show tunes and blues at 9501 Skokie Blvd., Skokie. (847) 673-6300 or www.northlight.org. Tickets are $45 (Dec. 30) and $55 (Dec. 31).

The Mid

306 N. Chicago. The full service nightclub and live music venue hosts hometown DJ Bad Boy Bill for its New Years Eve Bash. Three hour premium open bar (9 p.m. to midnight), an interactive countdown with a champagne toast, balloon drop and confetti explosion. Tickets at www.clubtix.net. $70-$90.

Excalibur and Vision Nightclub

7 p.m. to 4 a.m. Five dance floors featuring club anthems, hip-hop, retro and dance. The next best thing to Times Square, event will be complete with an Indoor Snowstorm of Confetti, Multiple Balloon Drops, an Arctic Nitrogen Blast and an Explosive Video Countdown. $40-$99. from 7:00 PM – 4:00 AM on New Year?s Eve. (312) 266-1944 or www.ExcaliburChicago.com.

Looking for more bang for your buck? Check out more lavish New Year’s Eve events.

More picks:
Kid-Friendly | Cheap Choices
Dinners | Concerts | Theater

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photo: Jeff Castillo

Although the Molemen name is synonymous with Chicago hip-hop?s past, it?s important as true fans to remember that the legendary crew has always had one foot moving towards the future. Over the years they?ve taken a proactive approach to change by mentoring a new crop of young lyricists, who not only represent the Molemen name, but bring new life to an already established brand. Of the newbies that have carried on the torch Humboldt Park native, Scheme, has stood out as a force to be reckoned with. His delivery is both fluid and aggressive, and his lyrical content plays with subject matter as diverse as the beats he rhymes over?from his personal dreams and aspirations to the plight of the everyday man. As of now Scheme has been meticulously perfecting his craft one song at a time. And if there?s any doubt on whether or not he has what it takes to carry on the Molemen tradition, take one listen to his rerelease, ?Same Rebel, New Cause (the Deluxe Edition),? and decide for yourself.

Could you tell me a little bit about where you grew up and how you first got interested in hip-hop?
I grew up in the inner city of Chicago. I was born in Humboldt Park, raised in Bucktown and Hermosa. So pretty much, the Westside and Northwest side of Chicago has been my home since day one. The first time I really listened and paid attention to hip-hop music was when I was 8. I heard the Cypress Hill album and fell in love with it. I was break dancing when I was like 5, but I didn?t know what I was getting myself into at the time.

Who were some of your most outstanding influences growing up? Did you have someone here locally sort of take you under their wing while your style was still developing?
Growing up; Nas, 2pac, Big L, Biggie, Big Pun, Jay-Z, Canibus, Ghostface Killah, and many more were some of my favorites. These were the ones I would sit down and study. As far as a mentor, it was pretty much my friends I started working on music with. When I really started trying to write full songs and record them, my homies who I started writing with were my mentors. We helped each other out and learned how to get better from one another. It was all trial and error. Then after them, Panik and PNS started giving me some insight on my songs, and what I could do to improve. I learned a lot from them about how to approach this whole industry and make it into my career.

What was your first performance like?
It was a great experience. I was nervous, but I performed with the friends I began working on music with, so there was a certain comfort level as well. I was 18 at the time, and I had never felt that kind of a rush before. Being on stage sealed the deal as far as me knowing that this was what I wanted to do with my life.

How did you link up with the Molemen?
I actually met Visual, who is Panik?s brother, at one of my first performances. He then introduced me to Panik, and we talked for a bit. I went to meet up with him at Gramaphone and he asked me to rap, so I recited a whole song for him on the spot. He gave me a CD filled with his beats and asked me to call him when I had 2-3 songs written and recorded. I called him back like the next day with 3 new songs. From there they asked me to be a part of their label.

What was it like initially working with legends like Panik, PNS and Memo?
In the beginning it was a bit intimidating, I won?t even lie. Just like 3 years before I became part of the Molemen, I was listening to all their music and I was a fan of what they were doing. So to go from respecting these individuals as an outsider, to working alongside with them, it was definitely a crazy experience for me. Through the years we?ve built a good relationship. Those are my friends above anything else.

Could you tell me a little bit about “Same Rebel, New Cause?”
“Same Rebel, New Cause” is two separate projects. The first one was dropped earlier in the year, which was “Same Rebel, New Cause (Mixtape)” and that one was presented by the Molemen, Soul Assassins, RubyHornet.com, and 2dopeboyz.com. It was all new material with original music blended and mixed by DJ PNS of the Molemen. Then what we did was revamp the project with only 8 of the original songs and added 6 new songs with new collaborations. That new version was “Same Rebel, New Cause (Deluxe Edition)” which we just released on November 9th. Lastly, ?Same Rebel, New Cause? or SRNC also signifies the new brand I represent alongside the Molemen brand.

It?s pretty clear that Chicago is an important part of who you are. How does the city inspire you to make music?
Honestly, just all the experiences I?ve had living here. Most of my music derives from things I?ve seen, heard, lived, etc. Where you are from plays a huge role in what you create as an artist, but you also need to learn to understand that the world is bigger than home. That is when you are able to reach out and make music for the world to enjoy. Chicago will always hold a special place in my heart. These neighborhoods made me.

What?s your take on the hip-hop scene here?
I really like where the scene is right now. It?s changing, but I think in a very positive way. People are a lot more open minded and giving a lot of new artists a shot. A lot of us in the scene are real proud of where it?s at, and it?s great to see that. I like the fact that it isn?t as segregated as before; where you would only have North Side artists at North Side events and South Side artists at South Side events. Those walls are slowly being broken down, so that is great to see.

Your narratives have such a personal touch to them, what?s your approach when you?re ready to sit down and write a song?
I just want to make sure the song is good to listen to first and foremost. I want to make sure people will relate to it somehow. And I want to make sure my lyrics are well put together. I pay attention to everything from the melody to the structure of the song. I want to put a part of me in it, but also understand that my music isn?t only for me. I put it out for people to listen and enjoy. It needs to sound good, if it does, then they?ll sit and listen, and once they do that, they?ll get the message.

So much has changed in terms of hip-hop particularly technology and distribution, how have you dealt with the digital age of music?
It?s actually helped me a lot. I now have a way to put out my music online for people to buy off of iTunes, Amazon, Rhapsody, and more. As an independent artist you can?t always get distribution at all of the big stores where people would normally purchase music before, but now with the iTunes of the world, people can purchase your album alongside major label artist albums. And buying music through those avenues is only getting bigger and bigger. The blogs also play such a huge role for us independent artists in getting our music out there to the people. They?ve changed the way people get all the new music. Staying relevant in these sites and putting out consistent albums is really important for a hip-hop artist in this digital age of music.

In regards to the Molemen camp, you guys took a few years off for the Chicago Rocks showcase. Can you tell me anything about Chicago Rocks 2011?
All I know is that it?s coming in 2011 without a doubt. It?s in the early stages of planning, so not too many details can be given out. But Chicago Rocks has definitely been missed, and I feel it?s the perfect time to bring it back.

Anything else we can look forward to in the future?
Definitely support the ?Same Rebel, New Cause (Deluxe Edition)? album available on iTunes, Amazon, scheme773.com and many other sites. As far as the future we have a couple projects in the works for next year including the LP. The next immediate project is a mixtape with DJ RTC from Ruby Hornet though, expect that first quarter of next year.

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Can you believe it… December is here already? Christmas and the New Year celebrations are almost upon us, so here’s wishing everyone an amazing time.

For anyone who just happens to be in Sydney and Melbourne this New Year, be sure to get yourself down to one of the following HUGE events:

RISING – New Years Day – Sydney
DAYWASH – New Years Day – Sydney
ROGUE – New Years Day – Melbourne
LOVECHILD at LIVE – Sunday 2nd Jan – Sydney
RISING – Monday 3rd Jan – Sydney

Check out Facebook: http://www.facebook.com/pages/DJ-Phil-Hewson/101597226575891
And http://www.philhewson.com for more details.

As a member of the hip-hop collective All Natural, Capital D has stood out as one of the most proficient lyricists in Chicago. His uncompromising style and silky smooth delivery project wisdom well beyond his years, and at this point you?d be hard-pressed to find an emcee out there who works as hard as Cap does in terms of perfecting his craft. Most critics have labeled him as a ?laidback? and ?consciously minded? lyricist, which isn?t altogether a bad thing, but recently he?s made steps to get outside of his comfort zone and show the full extent of his range, as seen in his albums Return of the Renegade and Elements: Fire (with labelmate Tone B. Nimble). Over the past year Cap has been occupied with several endeavors including his latest album PolyMath, which features producers NO I.D., Illmind, K-Kruz, Battlenek, S.C. and Blended Babies as well as guest appearances by Brother Ali and Tragedy Khadafi. Centerstage recently caught up with the local legend to find out more about his new project as well as his take on the present and possible future state of hip-hop.

Your new album PolyMath has a stacked lineup of producers as well as some solid contributions from Brother Ali and Tragedy Khadafi. What was the chemistry like for you on this project in comparison to past albums?
I handled all of the production on the album Insomnia and a lot of the production on Return of the Renegade so it was good to get out of my own comfort zone and match the energy that I was getting from other producers and MCs who I respect. A song like ?Addiction? or ?Live My Life? are beats that I would never have produced myself, but they are beats that I love to ride and create lyrics to match. On each of those, but especially Addiction, the vibe of the beat definitely forced me to write something that I wouldn?t normally write about, so that was a challenge and good for me. Also working with Bro. Ali and Tragedy Khadafi forced me to really match their intensity because both of them bring a lot of emotion to their songs and their vocals. Overall I think I needed that in order to get out of my comfort zone a little.

The album cover in addition to the title involves some pretty unique concepts. Can you explain in detail how the vision for the album came about?
Honestly the album was done before I even came up with the album title or cover concept. Usually I have the name of the album in mind before it?s done, but this time I had the songs done but couldn?t come up with a title to match. Tone asked me what it was that I wanted to say about myself and who I am on the album and concept. And basically my goal in life is to really be a master of a lot of different things?to never be somebody that you can pigeonhole as a particular type of artist or particular type of person, but someone who has a lot of different interests and talents, and the focus to try to master them instead of just half-doing a lot of things. Ultimately that?s what a ?polymath? is?it?s someone who is an expert in several different fields. Also the title is a play on the words ?Poly? (multiple) and ?Math? (knowledge), so I think it works on a couple of different levels.

As far as the cover image goes, a circle always represents completeness so I took the zodiac circle and replaced the images with symbols that represent who I am and what I?m all about, such as symbols for Islam, peace, law, family, music, etc.

In addition to emceeing you?re also an attorney and a father. How have you been able to juggle so many commitments and still be able to give 100% on your projects?
I focus first on the requirements and second on the things that I love to do but that are just optional. So first is the job. I work the job and give 100% to it so that my family commitments are taken care of. I want to make sure that my kids have all the opportunities that I had growing up. Once my commitments are taken care of, then I?m always able to find time to do the things that I love like music and chilling with my kids. Once the commitments are handled then it?s easy to feel good about doing music and other things without any kind of stress or pressure. I think we all find time to do the things we love, but the problem comes when we prioritize the non-essential things over the things that are required (e.g., providing for family).

The All Nat fam is synonymous with Chicago hip-hop. In your opinion how has the hip-hop landscape here changed over the years, and what?s your take on it now?
I?m really not the best person to ask about the scene in Chicago nowadays because I don?t really spend a lot of time being part of the scene. I don?t get my inspiration from being on the scene anymore. I wish I had more time to be out, but that?s really low on my list of priorities. One thing I can speak on is that there continues to be a lot of talent from Chicago that is getting noticed on an international level nowadays, so that is real good to see. Groups like Cool Kids and of course Lupe, Kanye, Rhymefest, Common and Twista have all represented Chicago hip-hop for the world in a way that makes you proud to be from the city. The one thing though that has never changed is how segregated the scene seems to be. Chicago has always had that gang/clique mentality and so the scene is still too segregated along racial and geographic lines.

For many artists it?s easy to criticize the current state of hip-hop when comparing it to its past. What?s your vision for the future?
I think a lot of the ideas of being independent and self-sufficient that were really popular during the ?90s can actually be put into action nowadays whereas artists can truly be their own companies and cut out a lot of middlemen. The present/future of music is for artists to figure out the things that they need to outsource and the things that they can handle in-house. The last few years has been about the industry trying to figure out how to deal with piracy and file-sharing, and the present/future is about really making money off of the way that people consume music. As far as hip-hop goes, I think the game nowadays really benefits the people who have a strong work ethic. If you have talent also, then that?s all the better, but work ethic is probably more important than talent nowadays.

You?ve never been shy about discussing controversial topics. Between your practice in law and music, which has been the most effective for you in terms of evoking reform and change?
I don?t really know that I can say that I?ve effected change or reform. I try to use my music to remind people. I think Ngugi wrote that the pen should be used to remind people in power that their crimes are being seen. So I try to do that to a degree. And I try to inspire and show a different way of doing things. Ultimately I think that reform and change has to come from the ground up though, so I try to use my legal skills to help organizations that are doing real work on the ground. They are making the change and I?m just assisting in an advisory role.

When can we expect you and Tone to release the next album in the Elements series? What other projects do you have coming up?
I really don?t know to be honest. We have a few songs floating around but we haven?t focused on created the next album. I have a lot of projects that I?m working on right now and my priority is to get those finished and out the door. I finished an album with the producer ProhMic that I think is real fresh so the plan is to release that next. Lately I?ve been doing a lot of writing for a sequel to Writer?s Block with the Molemen, so hopefully that will be ready to drop some time during 2011. And also I?m real focused on finishing an album that is more in mode of New Order/Depeche Mode/Larry Heard and I can?t wait to get it mixed and out to the public. The name of that group is Perfect Strangers and I did all of the music and have a lot of guest singers like Wes Restless, Jules ESQ and Aaisha Durr. I?m really excited about that project. Then the All Natural will follow when it?s time, God willing.

You have an album release party coming up December 4th at Reggie?s, any particular hopes for the show?
I?m really looking forward to seeing Gift of Gab and Raashan Ahmad again to tell the truth. I met them in Brazil during January when we were there for a week together and they are real cool brothers. So it?s a blessing to be able to bring them here and have them be a part of the show. Also last time I performed at Reggie?s, I was opening up for Qwel at his release show so we wanted to return the favor. So the bill, in addition to be packed full of true lyricists, is one that we put together for personal reasons and I just really want to vibe with those cats and enjoy it. There?s going to be a lot of lyrics getting kicked that night.

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Simeon Viltz is a local emcee who comes from a long line of proud musicians. As early as infancy his parents and grandparents (on both sides) nurtured his affinity for music, and that support has been the backbone of his work ever since.

For the past decade, Viltz has built a strong following as one half of The Primeridian, and he’s worked tirelessly toward furthering his reputation as one of the most refined talents in Chicago. Since releasing the last Primeridian album, Da Mornin’ Afta (under the All Natural imprint), Viltz has been hard at work taking on a staggering amount of collaborations, including ones with talented lyricists ADaD and Pugs Atomz as well as ones with superproducers Tall Black Guy and Kenny Keys. Viltz has been getting a lot of buzz for his night at Morseland with music aficionado Ayana Contreras (together known as Groove Conspiracy), and at this point it seems like Viltz is on a roll. Centerstage sat down with him to pick his brain about his various projects.

You grew up in a family full of musicians and music lovers. Who were the most influential people for you growing up and how have they contributed to the way you make music?
My parents and grandparents were very influential on me as far as my appreciation toward music in addition to introducing me to instruments. My grandmother, on my mother’s side, was classically trained and played in the church. She was my first piano teacher. And my father, who was from New Orleans, was rooted in jazz and played trumpet with Chicago-based funk/jazz group Black Lightning. He taught and gave me my first trumpet as well as put together my vibes. He would show me how to play them through some of our earlier jam sessions.

My mother has been singing in the church (Maple Park United Methodist in Chicago) choir now for years and used to play Al Green, Marvin Gaye, Earth Wind and Fire and Stevie Wonder records all the time. I used to always raid her collection ever since I was 2-3 years old and would stumble across Alice Coultrane and Parliament/Funkadelic records, etc. My grandfather would always encourage me to integrate my trumpet and piano playing with my “rappin,” “singing” and “beats” and also introduced me to the “grunt,” which a lot of preachers would use to captivate their audience.

What was it about hip-hop that drew you in?
What drew me into hip-hop was the overall culture; the breaking, DJing, graffiti and emceeing, not to mention the overall style. The edginess was appealing, too, and the usage of familiarity amidst the artistic expression against oppression along with the spirit of having a good time. I will have to admit that even though I’d imitate Run DMC, LL and the Beastie Boys, when I first heard Rakim, that’s when I first really wanted to become an emcee.

Another big influence early on me was Race from The Primeridian who was the first emcee I had seen rap in person with his own lyrics. He later would travel with Common and was in The Late Show with the legendary Twilite Tone. What made me want to make beats within hip-hop was the barrage of music that came out such as De La Soul, Tribe Called Quest, EPMD, Gang Starr, BDP and Public Enemy.

What’s your take on the local scene here? Some feel it’s still a hateful place to create, agree/disagree?
I think it started out not so much about hate but more about competition. Everyone wanted to be the first to get “put on.” Because there was no industry here, a lot of artists would go to New York or L.A. and try to get deals and showcase at various seminars. A few people were successful but there wasn’t nearly as much camaraderie as there is currently. I will give a lot of the newer artists that are from Chicago, who are holding down the scene here in this city, a lot of credit for bringing about a more united front.

What about hip-hop as a whole, i.e. mainstream and underground’s turbulent relationship?
I think when Viacom and Clear Channel seized more power over the music’s media outlets the balance in mainstream music became less vast. No longer did we see the majority of uplifting messages and informative “edu-tainment” type songs but more cookie cutter, money, sex and drug influenced songs. More product placement, if you will.

I mean, don’t get me wrong, we always had songs like “My Adidas” and Too Short screaming “B____” at the top of his lungs, but you had Queen Latifah and Poor Righteous Teachers and others to help keep it more balanced. Now the music with different creative or uplifting themes are now more under the radar while the more cookie cutter, “negative” themes are in the mainstream. The turbulence occurs as the youth are more influenced by the mainstream “art” as their parents/adults are more accustomed to the “art” being influenced by more real life. Music is very powerful so the influence is great and can be used to help heal and educate or pollute one’s mind.

As a member of Primeridian, and as an individual, you’ve always been invested in the community. How important is it for you to give back to the city? Also, how has music contributed to your work with the youth?
I’ve seen the direct influence of music on youth. I literally saw a kid go from a class clown in seventh grade to a substance abuser and dealer by eighth grade because of his obsession with this one group who often spoke about cocaine in their raps. The kid was so into the beats that the lyrics sunk into his subconscious and like so many other youth I would see around that time, their lives would imitate the “art.”

I also saw within my songs how some of my material could influence youth in a negative way and ironically enough, at the time, those songs were getting some attention from key people in the industry. I had to fine tune the catalogue so that we wouldn’t be a part of the “problem.” Not to mention, me being a mentor and a teacher I had to also be an influence.

In return, how has the city inspired and helped you as an artist?
This city’s musical history is so large and vast that I could write several books on it. I will say that something about the different cultures, neighborhoods, and people in general all play a part in my artistic influence. The beautiful lake that we sit next to is unparalleled to anything I’ve seen in the world. That always puts me in a certain frame of mind musically, which is peaceful and tranquil, hypnotic even. That’s why there’s such a melodic undertone in so much of my music. The funk and grit comes out too as things can get funky in these Chicago streets. Through it all I enjoy enhancing one’s peace of mind.

What’s the status of The Primeridian right now, and is there a new project in sight?
The Primeridian is still making music and there are a couple of projects that are near completion and will be coming out soon. One is the “Crack a Dawn” mix tape that we are doing with The Hip-Hop Project (Cosm Rocks, 1nce Agan and Roper). The other is a project we have done with producer Tall Black Guy called “Darling Lure.” We also have projects that we’ve started with Twilite Tone, Ron Trent, Black Spade, Rashid Hadee, Coolout Chris and The Produktionix.

Every third Thursday you’re spinning with Ayana Contreras at Morseland as the Groove Conspiracy. How did you guys meet, and how did the night itself come about?
I met Ayana while I was working with the Digital Youth Network (DYN) and she was working at Vocalo radio. I was a music mentor and one day I had taken some youth down to Vocalo at Navy Pier for a field trip. We were introduced by one of the Vocalo staff and she initially spoke on how she liked one of our singles out at the time entitled “Trumpets of Zion” on All Natural Inc.

From there we’d see each other here and there and became cool. She has this plethora of knowledge on music, especially early Chicago music, and often we’d talk about how rich and vast the city is musically. We had a mutual respect on each other’s record collections as she has many 45s and I have many records in general. From there she had a night at the Morseland Cafe on Morse Ave. where I also had a good relationship with the owner through shows with The Primeridian. One night she brought me in to DJ with her during a “One off” Friday in which we made a great impression collectively.

From there we came up with the name and description, which has been getting a lot of attention. I have been a proponent of the “land of 10 million grooves” for nearly a decade after having traveled throughout Europe with one of my mentors, Kahil El Zabar, as a part of the Juba Collective. The nights have been getting great responses. We both bring unique mixtures of songs that are both obscure and tastefully familiar that really take participants on a ride.

You’ve recently linked up with Kenny Keys and ADaD on a project, is there something bigger on the horizon for you guys?
I’ve known ADaD since we first joined All Natural Inc. around the same time in 2004-2005. We?ve built and had mutual respect since we released “Da All Nighta” and Eulorhythmics dropped their “Extended Play” album with the label. We had been talking for a while about doing a song together and this year that actually happened a few times. Some cases were impromptu and in the case that you mentioned, ADaD reached out to me with a track that Kenny did, which he thought we’d sound good over it together. He was absolutely correct, to say the least, and we shall see where things go. I am definitely open to many more collaborations with ADaD and with Kenny Keys. Kenny actually did a couple of tracks on The Primeridian album “Da All Nighta” and ADaD is one of the dopest emcees to emerge out of Chicago.

How’s your relationship with All Natural going?
We’ve already done two releases with All Natural Inc. and are currently in talks about releasing a project with producer Tall Black Guy on ANI entitled “Darling Lure.” We go back with Cap D and Tone B so we?ve always had mutual respect. I love the fact that they have been doing it for so long and have opened up their channels to other artists from Chicago and beyond.

Anything else we can look forward to?
Funny you should ask, last time I counted I am working on 36 projects this year. Seriously. This includes The Primeridian projects that I had mentioned in addition to a full length project called Ray Elementary with producer Mulatto Patriot. Also a joint project with producer Grant Parks and frequent collaborator Shev Rock called the Eargasmic Soul Collective (E.S.C.).

There is a project with Pugs Atomz (Big Cat) as well as one with producer Kenautis Smith. There is also a solo project that I am writing, producing and playing all the instrumentation on. A project with Tall Black Guy in which we are both bringing out more of our musicianship. A way out outside of the box project I’m working on called “Suburban Feel Good … ” I am also doing some production work for the legendary group The Pharcyde and have had many recent opportunities to play horns/vibes for other artists/producers. So I am very busy these days, to say the least.

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