» 2009 » January Music Parties & Clubbing

Polyphonic the Verbose

Thursday, January 29th, 2009

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To get down with Flosstradamus, you need to first get to know the duo’s fans. An iPod-toting musical identity crisis (“am I a hipster or a hip-hop head?” he cries, staring into the mirror) with a mild case of ADD, the Flosstradamus aficionado listens to Wu Tang Clan, followed by Animal Collective, followed by…Paul Simon? Why not? Many of us aspire to having the best of everything, so why not the best of every musical genre? That’s the philosophy espoused by Chicago-based DJs Autobot (Curt Cameruci) and J2K (JoshYoung), whose wonder-spin powers activate to form Flosstradamus.

Okay, so it’s not a band of superheroes, but Flosstradamus definitely employs some superpowers when it comes to moving a crowd. Whether mixing Lil’ Jon and Three 6 Mafia with Zombie Nation or Twista and Kanye West with Sigur Ros, Flosstradamus just aims to “make people go crazy,” says J2K. The guys don’t consider themselves in terms of a specific genre (do NOT call them a mashup act), but as two DJs whose humble wish is for you to shake your ass.

In 2005 Flosstradamus formed and starting playing its infamous “Get Outta’ the Hood” shows at Boystown dive Town Hall Pub. The event started small, but quickly mushroomed into the city’s sweatiest dance party. At the time, competitive attitudes and stifling microgenre labels dominated the local music scene. “The fun, anything goes, no dress code, no attitude party was unique in Chicago, aka ‘haterville,’” says J2K. (Free Jell-o shots also helped.)

Since then, Flosstradamus and other local acts have gotten out of the hood thanks in part to an increasingly supportive music scene. When MTV2 featured South Side native Kid Sister on its “My Block” Chicago episode, the rising hip-hop star showed some sisterly love (J2K is her brother) and landed Flosstradamus some airtime as well. The My Block appearance, combined with a crucial MySpace and blogosphere presence, has helped Flosstradamus build buzz and garner accolades from heavyweight publications URB Magazine and Rolling Stone. “Regardless, the most important thing has been performing,” says J2K. The duo hit the club circuit hard in 2006, eventually earning coveted spots at Coachella and Lollapalooza as well as on Chromeo’s “Fancy Footwork” tour in 2007 and 2008.

Taking a break from touring the world, Flosstradmus has started work on its debut album. Expect a frenetic dance party with appearances by fellow Chitown acts.

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Best Beats 1/26/09

Monday, January 26th, 2009

Lindstrom
Friday, January 30 at Smartbar, 10 p.m.; $10 before midnight, $15 after
We’d be remiss not to mention Lindstrom’s latest release, Where You Go I Go Too, when bringing up the disco resurgence. The album, which only has three tracks (the shortest of which is almost 11 minutes), is much more techno and electro-influenced, than the catchy pop style and lyrics of, say, Hercules and Love Affair. Still, Lindstrom, who rarely comes stateside (Chicago is one of three US stops) won’t disappoint disco and dance-music fans tonight at Smartbar. Jerome Derradj and Chicago’s leading lady of the nu-disco sound, SR-71 round out the lineup.

Hey Champ
Friday, January 30 at Lumen, 9 p.m.; cover TBD
Riding high off its recent tour with Lupe Fiasco and subsequent signing to his label, 1st and 15th, Hey Champ brings its fun, synth and keys-heavy dance/pop/rock music (yeah, it really is all of that) to Lumen tonight for a live performance. We think the sleek lights of Lumen and Hey Champ’s futuristic (in an ’80s way) sound make a perfect match. RSVP and get there early for the hosted cocktail bar from 9-10 p.m. and stay late for DJ White Shadow, who takes over the sounds after the band’s performance.

Dance Party Magic
Saturday, January 31 at Sonotheque, 9 p.m.; $7
It’s time for some Dance Party Magic. Tonight, E-Six and Matt Roan of Crossfader King bring their signature party to Sonotheque along with special guest Bean and rising local star, DJ A-Cup. Roan and Six are doing their unique, live four-turntable Audio Visual set (that?s dance music with live mixing of video footage) and we’re sure that since they’ve recently returned from Europe, there’ll be all types of good Euro footage and maybe even some shots from their Friday-night party to celebrate the signing of Crossfader King?s newest talent, DJ Galvan.

The Mess Around
Saturday, January 31 at Rodan, 10 p.m.; Free
Sometimes, you just need a place to meet up with friends, throw back a few drinks and have a good time. Well, the last Saturday of the month at Rodan, with DJ Intel and Maker behind the decks, is perfect for this. Although the music is definitely worthy, the chances of a full-blown dance party breaking out are slim, but hey, if you feel the urge to bust a move, no one will stop you.

Get Loose
Saturday, January 31 at Subterranean, 10 p.m.; $5 after 11 p.m.
Trew and the Comeup Crew moved down the street to new hotspot Crocodile, but Zebo is still holding down Saturdays at Sub-T. The new(ish) night, Get Loose, features him, Derek Berry, Richard C and special guests playing the dance party jams for the Saturday night crowd. Better yet, with just a $5 cover after 11 p.m., $2 PBR and $4 Grey Goose cocktails, it’s about as economical as a Saturday night out can get.

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Awdazcate

Friday, January 23rd, 2009

Consider the last time you went to a hip-hop show. Did you remember laughing? Not laughing at an MC’s feeble attempt to move the crowd, but genuinely laughing at the insightful commentary on display. If you can’t remember, you might want to check out MC/Comedian Awdazcate (pronounced “audacity”).

Born Rashawn Childress, Awdazcate grew up on Chicago’s South Side and developed his taste in hip-hop by watching artists like Big Daddy Kane, De La Soul, the Jungle Brothers and Slick Rick. His study of golden era hip-hop gave him the inspiration he needed to lyrically hold his own, but it was comedians Sean Monroe and Bernie Mac that gave him the material he needed to take his art to a different dimension. It’s simple if you think about it-mixing hip-hop and comedy-but it takes a true talent to make a surly hip-hop crowd come together through laughter. Centerstage found this fusion intriguing, and thought it would be an experience to speak with Awdazcate about his work.

How did you get the name Awdazcate?
I got the name for just being brutally honest. I agree some things are just ill-timed, but if you don’t say it, then people would just live with things and think it’s all right.

When did you first start getting into hip-hop?

I got into hip-hop in 1988. I watched the ?Vapors? video and said ?wow, let me get a hi-top fade and do this!? Big Daddy Kane, De la Soul, Jungle Brothers and Slick Rick were some of my biggest influences.

You?re a comedian, too. Who were your favorite Chicago comedians and how has their art inspired yours?
Yes I am a comedian, and my favorite Chicago comedians are Sean Monroe and Bernie Mac. Their comedy is everyday life, everyday struggle and that’s me when I do my music, etc…

You have a new mixtape out.

Yes, Fresh out the Box. It’s basically about new music, new girls, new shoes and a new day-anything new that’s fresh.

What about Chicago has helped your sound?

It?s saved my life. Staying in the house and hearing house music, old dusties, blues, slow jams etc…It really opened me up to new sounds and directions.

Favorite spots around town?

I?m in Bronzeville right now, and my favorite spot to let loose is usually at House of Blues, Sub-T or any bar. Ideas come at all times and that’s why my music is different.

Chicago’s hip-hop scene is very diverse. Do you have anyone locally that you’d really like to work with?
Well I’ve worked with Ang 13, Juice, Pugs Atomz and Phillip Morris so I got those bases covered. I’m really cool right now on the collabs, but look out for Me and Tall Black Guy, Que Billah, B-Vax and Elevation on My Last Album AudioCity.

What future projects are on the front?

Smokers Jacket with Pugs Atomz and My Last Album AudioCity it will be one of those albums you gotta put up there as a classic. I’m going out the same way I came in: HARDCORE! I am also writing a comedy, so stay tuned.

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Best Beats 1/19/09

Monday, January 19th, 2009

DJ Babu/The Goodness
Friday, January 23 at Lava Lounge, 9 p.m.; $10 before 11, $15 after
DJ Babu, the famed turntablist/DJ from California underground hip-hop group Dilated Peoples and the Beat Junkies shows off his famous turntable skills at Lava Lounge tonight. Babu, who released the mixtape/breaks album Duck Season Vol. 3 in late 2008, is joined by local hip-hop DJs Rude One and Tone B. Nimble for the type of organic, funky and imaginative hip-hop night that Chicago hasn’t seen in quite awhile. If you don’t know by now, Lava is the size of a Logan Square studio, so get there early or don’t expect to get in at all.

Would you dress up like this to save $10?

Spandexxx
Friday, January 23 at Sonotheque, 9 p.m.; $10, free if you wear over 70 percent Spandex, $5 with RSVP to urchicago.com
Rocktapussy, the all-female DJ act comprised of Mother Hubbard and DJ A-Cup, have appropriately teamed up with Venus, the pro-lady magazine that touts talented women, for Spandexxx, a new monthly dance party at Sonotheque. Tonight, they kick off the event with special guest Silverghost and Million $ Mano’s electro-rock-dance group He Say She Say. Save some cash by wearing at least 70 percent spandex (aka a bodysuit) for free entry and get there early for hosted bar from 9-10 p.m.

Aquarius
Saturday, January 24 at 5th City Center, 9 p.m.; $5 with RSVP to going.com
Be warned! Aquarius is for the youngins! So young that they throw nu-rave parties instead of rave throwback jams at quite possibly illegal venues. But it’s cool. We get it and as long as the extensive lineup of practically unknown DJs delivers (more recognizable names include Perfect Kiss, Lance Milk and Mr. Bobby), we think it’s Best Beats-worthy. Besides, if you’re a young Aquarian, where else are you going to go to party from 9 at night until 5 in the morning for just a $5 cover?

East of Edens Soul Express
Saturday, January 24 at Hideout, 9 p.m.; $10 if arriving for the Celebration of Soul Party, $5 for East of Edens at 11:30 p.m.
Just because this party doesn’t go until the sun comes up, it doesn’t mean that it’s not a good bet for a ragin’ fun time. It’s that time of the month when soul and funk masterminds John Ciba and James Porter bring the best soul and funk jams to the Hideout. Cheap drinks, fun music and an unpretentious crowd make the East of Edens Soul Express party one of the best and most affordable bets for Saturday night. Get there early for the St. Timothy’s Day “A Celebration of Soul” Party at 9 or just show up with the late-night revelers at 11:30 for the soul throwdown.

Disco Biscuits, Prefuse 73, RJD2
Saturday, January 24 at Congress Theater, 7 p.m.; $25 (free if you write the winning user review of the week!)
We’ve noticed a string of groups that easily fall into the jam-band category have been hitting the tour circuit with acts known more for hip-hop beats. Tonight, Disco Biscuits headline a tour with Prefuse 73 and RJD2. These acts have never been afraid to experiment with different genres, sounds and artists, which means anything goes at this Congress Theater show and it’s likely well worth the $25 ticket price.

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Podcast 67 – Special Guest – Joe Bermudez

Thursday, January 15th, 2009

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Best Beats 1/12/09

Monday, January 12th, 2009

DJ Ravi Drums
Tuesday, January 13 at Lumen, 9 p.m.; RSVP to info@lumen-chicago.com for discounted cover
Celebrity DJs are a dime a dozen, except for DJ Ravi Drums. He’s played all the big clubs and special-event parties as other certain well-known tabloid favorites, but Ravi brings a little something more than just hype for the cover charge. As his name implies, he plays percussion and synth drums along to hip-hop, house, funk and latin grooves. It’s not as raw as the drummers who parade the floors of Boom Boom Room, but with resident DJ Just Joey spinning the house tunes and the well-regarded industry-night crowd dancing along, it should make for an interesting night.

Juke What Yo Momma Gave You!
Friday, January 16 at Smartbar, 10 p.m.; $10, free before 11 p.m.
Since we last checked in with Gant-Man, he’s been busy keeping juke going strong and rockin’ parties for everyone from the South Side crowds all the way for the hipster set, busy pushing his Bang the Box Recordingz record label. Tonight, he, Power 92’s DJ Nehpets, Houz’Mon and Willy Joy of Fly By Night fame bang it at Smartbar for an all-night, all-juke party.

Drummer vs. The Technician 2
Friday, January 16 at Hideout, 10 p.m.; $8
Drummer vs. Technician pairs popular local DJs with live musicians for a unique night of analog and digital sounds. This time around, DJ Maker does live production, hip-hop act Meat Number 5 blends drums with turntables, as do DJ MTM and drummer Makayah McCraven, and it’s all topped off by The Sound Conspiracy playing live dance music. Expect house, hip-hop, afrobeat, samba and more, and be prepared to dance.

Soul Train
Saturday, January 17 at Betty’s Blue Star Lounge, 9 p.m.; Free
Regular readers of Best Beats have surely noticed that disco, soul and funk parties have made a strong comeback. Tonight, General Pacman spins all the funky stuff mixed with classic Soul Train video clips and performances for what is sure to be the ultimate throwback Soul Train party. There’s even a Soul Train Scramble Board for a chance to win prizes.

Slow Burning Afterparty/Uberjam
Saturday,January 17 at Crocodile, 10 p.m.; Free
Slow Burning, a huge collaborative art show with artists from San Francisco, LA, Chicago and New York, opens at the A.Okay gallery in Lakeview at 6. By 10, when the show starts to dwindle down, everyone heads over to the new Crocodile Lounge in Wicker Park for the ’90s throwback party (recently transplanted from Subterranean), Uberjam. Yeah, unfortunately, poor art appreciator, you’ll have to throw down a lot on cab fare or take a few buses to get from A.Okay to Wicker Park, but take heed, not only will the music – provided by resident DJs Trew, Intel, Maker and Pickel – be good, but if you spend $5 on drinks you get a free personal pizza as well.

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Phillip Morris

Monday, January 12th, 2009

Phillip Morris is a local MC who has spent the last four years promoting his conscious, often controversial, style of hip-hop. Growing up on Chicago’s West Side, Morris was influenced early on by his parents’ tastes in funk, jazz, R&B and hip-hop, which helped lay down a foundation for a refined sense of music appreciation. It wasn’t until 2004, though, that Morris finally made his presence felt by performing at some of the city’s most unforgiving open mics. Morris has released two solo albums since then and his latest, The Process of Addiction Has Its Costs, puts America under a microscope as he criticizes the country’s destructive reliance on oil, money and war. Centerstage had an opportunity to sit down with Morris and rap about his development as an artist and where he sees himself in 2009.

Tell me about where you grew up and how you first got into MCing.
I grew up on the West Side of Chicago, right by Division & Austin. My parents used to bump all types of old-school funk, jazz, R&B and even a little hip-hop. So even back in the day, songs like “Rapper’s Delight” and “The Crown” by Gary Byrd were standard on the playlist, and of course my parents had fun watching me recite the lyrics. I was always a fan of hip-hop, but it wasn’t until high school that I began following it more closely. With a huge appreciation for the art form, but no real skill developed, I started writing rhymes in high school as a joke. I didn’t really start taking it seriously until the aftermath of an intense acid trip in college. After that I started writing rhymes all the time, but it wasn’t until late 2004 early 2005 when I actually hit the scene and started going to open mics.

What were some of them?

Thursday night Floetry at Subterranean, and Wednesday night open mics at Cafe Mestizo. Those were the spots where I really broke out of my shell, and became more comfortable with my style and freestyling in front of crowds. Next was the Tuesday night hip-hop open mics at Subterranean, followed by the 2 a.m. open mic across the street at The Note. The first time I ever got onstage at Subterranean was huge for me, because it’s a very put-up or shut-up open mic, and people would often get booed if they sucked. I got a great reaction from the crowd, and I was relatively unknown, so I began to get a little bit of recognition. Another memorable experience was going to The Note, and the host, Shadowmaster MC, made me freestyle over like four beats in a row…a straight marathon. My lungs were dying by the end of it, but I still maintained the freestyle for the entire time I was on the spot. I impressed a lot of people including myself that night. Then I got a spot hosting open mics at Innjoy on Division and Damen. That really cemented my status as a Chicago MC, and before I knew it I started getting opportunities to do shows from my reputation as a freestyle artist.

You’ve worked with a bunch of local MC’s too. Who are they and how have they helped your progression?
To name a few, I’ve done a lot of work with Awdazcate (pronounced Audacity), who was the one who really started helping me get my own shows. I also met a countless number of MCs/promoters through knowing him. Artists like Pugs Atomz, Ang13 and Dynamic Vibrations taught me a lot about stage presence just from watching them perform. The importance of eye contact, and just releasing and letting go onstage. Smokee Basement, Number 2 and White Jesus helped me develop a strong fanbase in the western suburbs. Phero redeemed my faith in the younger generation of hip-hop, and helped me expand my fanbase on the South Side. I know I’m leaving out a lot, but a countless number of MCs have helped my progression by both showing me effective ways to rock a crowd, and also a plethora of things that I should avoid while performing.

I’ve noticed that you’ve performed in Pilsen a few times, which isn’t known for its hip-hop shows. What’s that scene like?

I love the Pilsen scene. Spots like Cafe Mestizo’s Wednesday night open mic hosted by Lower Class Odyssey and Zocalo Urbano have given Pilsen artists venues to perform. I see a lot of socially aware MCs/poets coming out of Pilsen, discussing the Latin struggle in general, gentrification issues, discussing what’s going on around them. I’m just glad to see it on a bigger scale, whether it be a house party, coffee shop or a venue. I actually held my video release party in Pilsen, in the courtyard of an apartment complex on 19th Street. There’s a huge, Shakespearean gazebo-type stage back there, and a lot of people, even Pilsen residents, had no idea it was back there. We threw a huge party that was highly successful. Until the cops broke it up (laughs).

You produced your debut album, Instrumentality, yourself. Was producing something that you just recently picked up or is it something that’s developed along with your rhyming?
I have been producing for years. It’s definitely something that has developed, although I have mainly focused on the writing, while the producing has taken a backseat. I started producing out of necessity. I needed backdrops to write to. I’ve always been a huge fan of being a jack-of-multiple-trades, so I started teaching myself how to use Fruity Loops, Acid, Reason, etc. I love to produce, and it’s good to know, because some of my songs need that personal touch. Yet it’s very time-consuming, and I felt it was taking away from the same time and energy I used to write. For my new album I only produced a handful of the tracks, and reached out to various producers to acquire production.

Tell me about that album from a conceptual standpoint.

Instrumentality was really an album to show people what I was capable of. Conceptually, it’s the fusion of the mind with instruments; finding where my voice fit in as an instrument in the medley of sound. I was still finding myself during the period when this was made, so you can see a progression taking place as you listen to the album. My own instrumentals mixed with my own thought process, ya know? There’s a mixture of politics, humor, romance, personal conflict, experimental wordplay. I tried to make it as well-rounded as I could at the time.

The new album is called The Process of Addiction Has Its Costs. This album I think really defines me well. As I mentioned, I only produced a handful of tracks, so I really had time to sit and develop the way I write, where I take breaths, vocal intonation; utilizing my voice even more as an instrument. I sing a lot more on this album. I think it’s easy to tell that I am a lot more comfortable with my voice, subject matter, and myself in general on this album. I would say conceptually, the album discusses addiction in its various forms: petroleum, war, violence, technology, love, money, happiness, pain, our favorite artists, a partying lifestyle, etc. That isn’t the only thing focused upon in the music, but I definitely see that as a subtle underlying theme.

To me, this album is lyrically a lot more fun. I wrote a song about making love to a computer, for crying out loud. I experiment even more with different rhyming patterns, voices, accents, and enunciation. I think I do a lot better job of transcribing the energy of a live show onto recorded tracks, which a lot of artists struggle with. There’s a lot more politically charged subject matter on this album too, as I have learned more, read more, watched more documentaries, so my observations and personal opinion is weaved together with trying to paint concise mental portraits of the issues I speak about, and that I feel need to be addressed.

Hip-hop nowadays seems to avoid controversial topics. What’s your stance on that?

I would like to see more controversial topics and opinions thrown into songs. People seem to be scared to break out of their shells though-to be original. We all have a different way of thinking, and a unique nature. I don’t feel that artists should be afraid to express that individuality. Being a good artist does require reaching a common ground with a listener, but an artist shouldn’t be afraid to challenge the listener’s way of thinking or to bring a different point of view to the table. I feel that it’s my responsibility as an MC to do that; provide a new way of thinking. That, in turn, is one of the things that set an MC apart from the crowd.

What neighborhood do you live in now, and how has that helped your creative growth?
I currently live in the Austin neighborhood on the West Side of Chicago. I don’t know how it has specifically helped fuel my creative growth, as I already absorbed so much from growing up close to here. It’s just provided another vantage point to observe the West Side of the city and my surroundings. I lived out in Bellwood for a while prior to this, so living in this neighborhood puts me a lot closer to the scene.

Is there any place in Chicago that is a favorite of yours, both as leisure and professionally?
I really love hanging out and performing at Quennect 4 Gallery. It’s an underground collective that doubles as both an art gallery on the first floor as well as a performance space in the basement, which is adorned with innovative artwork and revolutionary murals. I seriously felt at home from the first time I walked into the place, which is odd because when I was apartment hunting, I was trying to get an apartment directly above Quennect4 before I even knew it existed. I don’t believe in coincidence, so I almost feel as if the energy of the spot was drawing me towards that location. But yeah, Q4 is definitely the spot to be.

What do you have coming up for 2009?

In 2009 I will be continuing to line up more shows out of town, and get some proper tours going to expand the radius of influence that I have. I will still be doing Chicago shows, but definitely not as many. Be on the lookout for a Phillip Morris mixtape, more collaborations with various artists, and most likely I’ll shoot another music video. The Roof Top Hip Hop documentary that I’m in will be out in 2009 as well. I plan on including more live instrumentation and innovative ideas as a part of my stage show as too, in an effort to continue to keep moving the crowd.

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House Music is the Answer (Jan 2009)

Sunday, January 11th, 2009

The New Year madness is over and 2009 is well and truly in full swing. I wanna wish you all a Happy New Year and promise to bring you the best House Music from accross London’s dancefloors this year.

This first mix of 2009 brings you House Music inspired by the atmosphere at some of Spain’s biggest clubbing brands. Matinee and SuperMartXe! If you’ve been to Ibiza or Madrid you will not have missed these big names and they’re taking London by storm at the moment. Hope you enjoy this mix as much as I enjoyed putting it together!

Tracklisting:

1. Right Here (Departed) Brandy (Haji & Emanuel Club Mix)
2. Time – Horny United (Orange Bud Remix)
3. I Feel – Tony Martinez (Alfredo Pareja)
4. Sundays At Heaven – J Velarde, Luque & Vitti (Juanjo Martin Remix)
5. Star – Victor Perez feat Estela Martin (Original Mix)
6. You Used to Hold Me – D.O.N.S feat Terri B (Syke N Sugarstarr Remix)
7. Shakedown at Night – Seamus Haji 2008 Remix
8. Bodyswerve – Delacy & Marco Gee (Pagano in Heaven Mix)
9. Voices – Guesta and Pain (Fuori Di Guesta Mix)
10. Music Is the Answer – Celeda and Danny Tenaglia (Gabriel Vezzola Mix)
11. My Mind is Free – Rafa Gomez and Dani Masi ft Nuria Swan

If you enjoy this podcast:
1. Let me know, you can find me on Myspace at http://www.myspace.com/funkylondon

2. Let others know, leave your comments on the iTunes music store!

3. Donate via Paypal to help me keep this Podcast going.

Thanks to everyone who continues to support the Funky London Podcast! Your support makes this podcast possible

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Chantalism

Sunday, January 11th, 2009

photo: Sherri Johnson

Chantala Kommanivanh’s background is different from that of most hip-hop artists. Born in a refugee camp as the youngest of five children, he migrated to Chicago with his family in 1983 to escape the turbulence that was plaguing Thailand at the time. Good move – otherwise, he probably wouldn’t be creating conscious hip-hop as part of the Maintenance Crew a quarter-century later. Centerstage had an opportunity to sit down with Chantalism (his creative moniker) before a recent show.

Tell me about how Maintenance Crew came to form.
We attended Roosevelt High School on the North Side together. We shared the same musical interests, specifically hip-hop, and always wanted to work on something. We started recording after high school and eventually released Eternal Sunshine of the Simple Mind in 2005 and Simple is the Way It’s Spoken in ‘07.

You weren’t originally from Albany Park, right?

I’m from Laos and Diego Prieto [Ubiquity, the other half of Maintenance Crew] is from Mexico.

In your bio you mention that you were born in a refugee camp in Thailand; did you grow up in that environment?
I was born in a refugee camp in Thailand 1982, but fortunately my family got sponsorship and migrated to Chicago in the winter of ‘83. Luckily for me I don’t remember any experiences during our family’s migration.

How has your family’s experience as refugees affected you and your creativity?
The refugee experience through my immediate family is a part of my identity and a big part of who I am. So when I create, it’s natural for me to do the best of my ability when the opportunity is there. In other words when you come from nothing it’s inherent that you persevere.

You paint as well. Do your painting and music crossover or is one expression independent from the other?
My paintings are the visuals to the music, and sometimes they serve as the blueprint. I like the audience to read my paintings as poems, a visual poem rather than a picture because it’s much more complex, and the music is the literal version of the painting.

What would you say is the driving force behind your art then?
The ultimate driving force behind my art and music is the wack art coming from the students at the Art Institute of Chicago. And wack music in general.

How has Chicago as a whole molded your sound?
The city of Chicago has been a definite inspiration to the music we create. The city is a multi-dimensional mystery in the sense that there are different sides of it that we don’t even know about. Living here, everyday, surrounded by the city, definitely creeps into our creativity. And all that’s aside from Chicago’s musical history, which is also a big influence in our music.

What neighborhood do you live in now?
I live in Mayfair and Ubiquity lives in Jefferson Park, but we record and get together in Albany Park, where much of our roots lie. This allows us to tap into the time and space that enabled our creativity.

Do you have any favorite spots that help you relax and tap into your creative zone?
Chillin’ in the basement and in the studio is where we’re most creative. Working together in the same room is the best place for us because that way we can vibe off each other’s energy.

Tell me a little bit about your newest album, Plain & Simple.

The latest album is a reflection of our love for good music and its simplicity. At the same time, the album is about how simple situations can build an extremely complicated conundrum we all know as life. The words are an extension of what we see and breathe, and we tried to make 20 tracks that were true in both form and sound. Hopefully, it’s something people can relate to. It’s our interpretation of hip-hop through jazz, blues, Technics, and beat machines.

What’s motivating you to get up and create on your day-to-day?
The fact that the sun’s shining and the clouds are still grey.

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Archive for January, 2009

Polyphonic the Verbose

Flosstradamus

Best Beats 1/26/09

Awdazcate

Best Beats 1/19/09

Podcast 67 – Special Guest – Joe Bermudez

Best Beats 1/12/09

Phillip Morris

House Music is the Answer (Jan 2009)

Chantalism

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