Moe Pope has a voice as soft as Q-tips, with messages that go far beyond popping bottles and rocking ice. Continue reading
Boston Hip Hop
Anyone who knows me knows that my idea of a good weekend is anything involving dancing and drinking on an empty stomach. Fortunately for me, DigBoston allows me to do both of those things and usually at the same time. Continue reading
The mighty Black EL x Durkin drop the video to their new jawn. Continue reading
Just wondering, did anyone notice a slight drop in temperatures this past weekend while hitting up some local shows? Us too! Continue reading
Between rapping and acting, the Boston-born Slaine doesn’t have to choose. He has an upcoming role in Cogan’s Trade, and he’s headlining the Middle East with MC Action Bronson. Here he dishes on everything from Brad Pitt to grilling with Statik Selektah. Continue reading
Photos: Mick Murray. L-R: Peaches, Melanie Bernier, Ryan Major, Jenny, Ryan Durkin.
Durkin and The Fagettes discovered they had a bit in common rather quickly when we met up on a rainy Saturday afternoon in a Central Square parking lot. For one thing, the hip-hop producer/DJ/hype man hybrid and the sassy, lo-fi garage rockers both love playing dance nights. For another, we tapped into some rage related to the apparently unforgiveable track “Gary Glitter Part I.” Though they come from completely different backgrounds and scenes, both Durkin and The Fagettes specialize in getting a crowd moving—whether they’re ready or not.
ON THE INTERNET:
Durkin: Stuff that’s not just a straight hip-hop show is the best situation for us—one band and us and DJs.
Melanie Bernier: Why do you think that is for you guys?
Durkin: I don’t know. People’s tastes change. When I was a freshman in college, underground hip-hop was really big. There was a big scene and there were big names, nationally, that were from Boston. When I was in high school, I would drive down to the Middle East and there would be a sold out show with all local acts—E-Don, Esoteric, Mr Lif. In terms of people and new fans now, it’s just not really happening.
Ryan Major: I find that interesting, from an outsider’s perspective. If you look at blogs and stuff—you don’t hear anything about radio rock. That band, Foster the People? Apparently they’re huge and I hadn’t heard about them until about a week and a half ago. You don’t see Pitchfork writing about it—they’re covering Kanye and Jay-Z. Indie rock seems to be focused on Top 40 Rock.
Durkin: I think with Pitchfork, they cover hip-hop and half the time it’s a tongue-in-cheek review. They’re not interested in finding out what a new, independent artist is doing. At the same time, independent artists in hip-hop are trying to make names. If you go to a mainly hip-hop blog or a site like Pitchfork, their emphasis will be on how many posts they can get up in a day—“I’m going to post seven reviews or seven videos!” or something. They’re going to post about guys like Drake or Jay-Z because it’ll get them more traffic. It’s just this game. When we put out Color Commentary, we put out one song at a time. If we just put our whole record out, it’d be there at the top of the page. At the end of the day, it’d be at the bottom of the page, and by tomorrow it’s going to be two pages out. To have somebody listen to it as a body of work and think about it and write something, even if they hate it, it’s not the world we’re dealing with. The marketing side of it is kind of a nightmare to plan out. We’re trying to be really thoughtful about this next record, just in terms of writing everything out. I read somewhere that once you drop the album, it’s over—the buzz, the relevance of covering it from the perspective of a blog. If you postpone that for as long as possible and just keep putting out bits and pieces, that’s how you can do it. From an artist’s perspective, that sucks! I don’t want to do that!
Major: The Fagettes is the first band I’ve been in where we really have tried to play the Internet game—but we’re more interested in getting something physically out and shows and stuff. We’re not very good with computers.
Peaches: I’m good!
Major: He’s okay. Our long-term goal is to get some vinyl out.
Durkin: Well, that’s something people want to buy. It’s something they can hold.
Major: That’s exactly it. It’s a physical representation of our music.
ON … BALLOON ANIMALS?
Durkin: Hippie ravers are the hands-down best crowd for any type of music. It’s like the Camp Bisco crowd. I’ve done a couple of shows to that crowd and they were great.
Major: [laughs] The nitrous brothers.
Durkin: Oh my god, yeah! I was opening for The New Deal. Some kids who came to the show were in this van with balloons in front of the Middle East, and I was like, “What is going ON right now?!”
Major: Wait, they were making balloon animals?!
Durkin: Uh, balloon animals that people could inhale.
Melanie: … We should make balloon animals.
Major: With NOT nitrous oxide.
ON LIVE SHOW ENERGY:
Melanie: What’s the preparation for the set versus when you’re playing in the moment live?
Durkin: Being organized allows me to improvise a lot better. The hip-hop shows are pretty carefully choreographed. EL knows the moves I’m gonna be pulling.
Melanie: That’s awesome—and that way you’re able to gauge the temperature of the audience … The thing about recording to me is that it’s so hard to get the energy into it that you can with the live show. I don’t know. I’m interested to hear about that aspect of your work, the live realm and how you translate that to a record.
Durkin: It’s difficult—people do it in a lot of different ways. Unfortunately, the main way people often do it, and especially people that have never seen what I would consider a real hip-hop show—young people whose first introduction to the music maybe wasn’t through live shows. They’ll often perform by just hitting “play” on a song they recorded and then shout over it. It’s like bad karaoke of their own music. When Black EL approached me to do some live shows, I said that I didn’t want any backing vocals in the songs if we were performing them, and I wanted to do more than just press play. When I’m DJing, I’m always working really fast and I’m trying to blend together songs that make sense, so I’m always doing something. I have a mic in my face, I’m doing all his ad libs and I’m usually cutting or juggling or repeating the same track and then cutting them back in while he raps, and I’m doing it all live. We’re trying to do it so that people say “These guys are putting on a show! These guys are trying hard to entertain us!” We’re psyched to be there and we want people to see the energy we’re bringing to it, because they’ll give it back. Some of the best situations we’ve had were small shows with people right in our faces and they can see what I’m doing. One of the best shows we did was at Wadzilla before they closed it. It got shut down two weeks after we played. We played with Bad Rabbits and this guy Outtasight. We just had this great show where people may not have been there to see us or to see a hip-hop show, but by the end of the show we won them over and had a great time.
Major: That’s another thing that’s great about basement shows—you’re not paying $3.50 for a PBR at the bar and you appreciate it.
Melanie: Well, anyone can show up to it, and that’s the joy of it. I feel like a lot of times when people go to a concert they expect to see some rock—mixing it up with new people because it’s free or mixing up with other bands draws the best reaction.
Major: You can’t book a bar show like that. You can’t get people to show up and pay 8 bucks when they only know one band.
ON THE PERKS OF PLAYING DANCE NIGHTS:
Durkin: You look at someone’s iPod and it’s not just one genre, for the most part. Why shouldn’t shows be like that, too?
Durkin: Another good format for us is doing something where it’s a couple acts where it’s us and a couple acts or a dance night or something.
Major: We love dance nights—you’re not yelling at people the whole time and worrying about when you play. You play and you get to hang out and dance!
Peaches: And you can set up your stuff onstage and just leave it!
Major: Oh God yeah.
Durkin: It’s just so much easier. “When are you guys going on?” “I don’t know. When it feels right!” because there are just two of us! Whereas at a regular show they’re like “NOW! GO NOW!” and you’re like “But hey, I gotta tie my shoe—“ and they’re like “YOU ARE MISSING TIME OUT OF YOUR SET! IT’S OVER!” That sucks. We opened for Curren$y once—we were psyched to be a part of it. I’m going through my laptop to make sure we’re all set and it just crashes. As soon as it crashes, the promoter came in with a five minute warning. I was like “But I need five!” and he was like “Listen, you need to be standing out there in five minutes.” It literally came together at the last moment. Stuff wasn’t hooked up. I’m playing the song on one of the turntables and doing back ups and plugging stuff in.
Melanie: I just have this image of you plugging this final plug in at the last moment.
Durkin: That’s where I’m lucky—a lot of guys keep their live shows simple so that you have to know what to do if something goes wrong. If something goes wrong, I can come up with ten different reasons as to why that’s happening in my head and not freak out. Playing a place like ZuZu, if you can play there and make everything work you can pretty much do it anywhere. Everyone’s in your face and you have to do everything yourself. It’s a delicate balance. I wouldn’t spend my Friday nights any other way. That’s gotta be so difficult for you guys, with shows—we do a hip-hop show and we split it in half with the DJ. It must be rough to find fair money when you have a bigger band.
Major: We lose a lot of money because we’re paying for drinks at bars. [Laughs]
Melanie: I’m very scrooge-y with the money and it goes directly into a sour cream jar on my shelf.
Durkin: It’s way more fun than just going to the bar!
Melanie: Totally. I was a spectator of music for so long, and it was definitely a huge goal of mine to be onstage. And finally now doing it, it’s like, why would I ever not want to be doing this?
ON GEOGRAPHIC SEPARATION:
Major: We’re a rock and roll band from Allston. We play in a lot of basements and a lot of bars.
Durkin: I’ve lived in Boston six years, been DJing in Boston and Cambridge for three. My main residency is a biweekly Friday at ZuZu called Solid—it’s my home base as a DJ. For production I do some remix work, and I’m in a hip-hop group where I’m the main producer and the DJ. It’s called Black EL and Durkin—we put out an album last summer called Color Commentary and we’re working on new stuff now.
Major: I listened to some of those tunes. I don’t have a great frame of reference for hip-hop, but I enjoyed it.
Durkin: Thanks! I’m excited for the new stuff we’re working on. I produced it on an old shitty program on my old laptop. I didn’t really know what I was doing. We kind of fudged our way through that record as more content to do new shows. I was a DJ first, so I started applying how I DJ to how I do shows, and I was like, “We just need more music.” That turned into that album, and this whole thing.
Major: That’s not too dissimilar from us. In this day and age it’s difficult to get gigs and to get out there without something recorded. It was really early on when—we had been together six weeks when we started to record with Andy Maher. He did a lot of it analog. He hadn’t really recorded other people either. I think it came out really good, but things have definitely changed since then.
Durkin: Yeah. We’re lucky enough to have a better production set up now. It still turns into me producing something in my apartment and bouncing that to Black EL, who’s recording in a basement in Hopkinton. The main engineer we have is a good friend in Harlem. We bounce all our stuff to him and he mixes it and masters it, so it’s this triangle of digital stuff. It’s kind of a frustrating way to work sometimes, but we’ve being doing it more face to face as we’ve had more access to studios with better gear.
Major: That’s a lot of geographic separation! I don’t even know where Hopkinton is.
Jenny: It’s near me …
Major: I still don’t understand where you are.
ON WHY GARY GLITTER IS AN ASSHOLE:
Melanie Bernier: Last night [at ZuZu] while you were DJing I was talking to you about how you went from Depeche Mode—
Durkin: I went from Depeche Mode to Gary Glitter—
Ryan Major: WHAT?
Durkin: —And from Gary Glitter to “Howlin’ for You” by the Black Keys, which is the same drum track. And then from that I went to The Who’s “Can’t Explain.” They’re all the same tempo and they’re all have a similar vibe and they’re all drum-driven tracks. I have, like, a little crate of shuffling tracks.
Ryan: I like songs that sound like they’re taking parts of Gary Glitter songs.
Durkin: One important thing to note is that song is called “Gary Glitter Rock N’ Roll Part II,” and it’s instrumental. “Part I” has lyrics. You do not want to hear “Part I.” It is fucking terrible. Gary Glitter is an asshole. It’s hard to even want to play his music but that one song is so good, so I’ll play a minute of it and go into something else.
Ryan: Ten years ago when he got arrested in Southeast Asia there was a possibility that he was going to face a firing squad …
Durkin: Come on! I don’t want to get into this.
Ryan: There are not a lot of glam rock people left! You can’t shoot them!
Durkin: I did some solid Wikipedia reading on him when I was like “Oh I should play this song”—
Ryan: —On whether or not it was morally reprehensible to play a Gary Glitter song. [laughs]
Durkin: I can set aside personal issues for an artist! Come on! You don’t know what Hanson is capable of!
Photos: Steve Wollkind. L-R: Ryan Peters, Hugh Wyman, Moe Pope, Jason Meeker, Dan Nicklin, RJ “Rain” Rixey, Chris “Talkin” Sheehan.
Oldjack and Moe Pope, Chris “Talkin” Sheehan and RJ “Rain” Rixey, aka Quills, are perched across from each other on the stools in the kitchen at Mad Oak Studios. New Oldjack numbers are being reworked literally feet from where they’re sitting, but Moe, Chris and Rain aren’t ready to talk about the new stuff or about Oldjack’s plans for the future or their new projects just yet. Moe came prepared with a college-ruled notebook full of questions, which he got to before the guys were invited to listen to what Oldjack had been working on at the soundboard. After that, Moe, Chris and Rain insisted on sharing their new work, the much anticipated follow-up to Life After God. And in between sneak peeks and ruminations on Boston hip-hop (as Oldjack’s Dan Nicklin’s previous work includes credits with Mr. Lif and Esoteric), they got deep.
ON MAXIMIZING STAGE SPACE AND HEARTACHE:
Moe Pope: I listened to you guys’ music and it’s very classy.
Dan Nicklin: Aw, thanks man.
Ryan Peters: Tuxedo!
Chris “Talkin” Sheehan: Not a light blue ruffle one, either.
Moe: So we have four people on stage, and it’s fucking crazy. How the fuck do you guys deal with ten people on stage?!
Dan: Ah. Everybody gets a little teenie corner and I get the rest.
Chris: Yeah! Like you rope an area off, “Don’t come into my zone guys …”
Dan: I have a pretty heavy mic stand, so I’ll take someone out.
Moe: [Pointing to Chris] This dude, sometimes it’s like, “Is this gonna be a night when Chris does whenever he wants? Or this gonna be what we practiced?” [Laughs]
Chris: Those nights are me like, maybe crowdsurfing, maybe like throwing a microphone.
RJ “Rain” Rixey: Maybe doing front flips into the crowd.
Chris: Maybe doing front flips into the crowd. Whatever.
Moe: So “Face Like Mine” and “Green” are obviously about heartache. Are these songs autobiographical?
Dan: I mean I think they’re biographical. I just don’t know if they’re autobiographical.
Moe: That means a lot when you can touch into that though. I mean, it seems personal.
Dan: You know, “Face Like Mine,” there was some stuff going on when we wrote this record that just needed to be captured and I was able to capture it.
Rain: We know that well too. Our last record was the same thing.
Dan: “Face Like Mine”—I was taking the train one day and this girl was just crying her eyes out on the train. Like just bawling, like uncontrollable crying. And you kinda wanna help, you know what I mean? But you can’t. You can’t so you just kinda watch. So that was kind of where that one came from and it probably has a little bit of things I see in it.
Moe: I mean honestly, I asked about those two songs because we wrote a whole record basically on heartache. Life After God. All of us were going through shit, you know what I’m saying.
Dan: See, that’s interesting to me because I used to be fairly aggressively involved in the hip-hop community in Boston. And eventually I was like, “Well there’s no room to be a person in this music anymore, so I gotta go somewhere else. I gotta go explore.” So it’s amazing for me to hear you saying that you’re doing that.
Moe: This is our whole point. I thoroughly understand that you have the braggadocio, the fuckin’ very masculine machismo shit. I understand that side of it. I can spit and do that shit, too, and I do on two or three songs on the record, because it’s fun. And that’s a part of hip-hop culture. But for the most part I like to make sure that I write about something that matters to the common man, you know? … If you think about all the other music, from Clapton to Björk, saying they all write about their own experiences and that pain, happiness, fuckin’ all that shit—why can’t hip-hop do it? So that’s what we do.
Ryan: I think that’s awesome.
ON GETTING PIGEON-HOLED:
Chris: I don’t know—it’s so weird with music with us. People pigeonhole us as a hip-hop group and they hear our record and they’re like, “Oh you’re different!” but they’re still like, “So did you like that new Odd Future record?” Like, “Mmm … I don’t know, dude. I don’t know. Maybe if I was a 15-year-old kid I might like it.” I’m sure it’s the same with you guys too.
Jason Meeker: Like country, or classic rock, or whatever. I mean I’m sure you guys have heard like enough times “Oh, I didn’t expect that.”
Dan: [laughs] I don’t think anyone knows what to do with us anyway, as a band.
Chris: It’s the same with us man, because like we’re not a hip hop—like we’re not hip hop enough for hip hop fans, and we’re not different enough for—
Moe: We’re not punk enough for punk rock. That’s what they’ll say. But then again we’re not hip-hop enough for a hip-hop crowd, but they’ll say “Wow I fucking love that. I don’t know that it is but I really like it!” you know?
Dan: That’s really interesting. I think we get a lot of that, right?
Meeker: Tread your own path, yeah.
Chris: Isn’t that a beautiful thing though?
Dan: Well, yeah, it makes shows confusing , but …
Chris: This is the thing. Every time we’ve played New Hampshire, I don’t know what it is, we have like a curse in New Hampshire, but everyone will stand there and be like … just ice grill us the whole time. And we’re on stage and we’re like “What the FUCK? What do I have to do to make you guys do something?” And then after the show everyone comes up to us like, “You guys were fucking amazing!” and I’m like “Well … would’ve been cool if when we were on stage you clapped when we finished a song. You guys just stood there.”
Dan: Yeah! We were at, like, a classic rock show once. And we were up on stage and everybody’s starin’ at us like “Who the fuck are these guys? What are they doin’ here?” I mean we even had the organ player from one of the other bands. And they went mental for the other bands, but for us they were just like staring. It was the same thing, people were like, “I really liked you guys.” And we’re like, “You guys were thirty feet from the stage like sitting in your chair.”
Chris: Yeah! Dude it’s so bizarre. Because for me, like when I go to a show, I’m feeling a band and you know it. I hate to bring it back but I’m a hardcore kid, and that’s what you do. Like I’m in the front fuckin’ row and I wanna touch the microphone. If you ever see us on stage, that’s how I am like on stage. I’m fully—I’m at a fuckin’ hardcore show when I’m on stage. That’s the weird dynamic for us.
ON BEING POSSESSIVE; RECORDS
Meeker: I’ve been with the band and known Dan for a long time, so, Oldjack’s been a good platform. As many bands as I’ve played in, this feels like the right band to be hittin’ the drums the way I do.
Hugh Wyman: We feel very similarly to that.
Moe: It takes the weeding out process to really feel comfortable.
Dan: Well we used to have a drummer, he was a little more jazzy—he was still a great drummer, but Meeker just likes to hit the drums hard.
Meeker: I like to keep it simple.
Chris: It’s a good feeling when you find that fit though. When you know, “We have a good band right now.”
Dan: He was my favorite drummer before he played with us, and he’s still my favorite drummer.
Chris: Now who’d you play with before?
Meeker: I was playing with a band called Miss Pigeon for about ten years, and then I played with a band called The Charms.
Chris: Oh yeah! I know some of those cats.
Meeker: Yeah, so I played on one record with them, then went on tour and then I sat in for a little while for The Luxury when they lost their drummer.
Dan: And now he’s our drummer.
Meeker: Yeah Dan’s like—
Dan: No one can have him.
Meeker: [laughs] He gets possessive.
Dan: I do. I get possessive.
Chris: [laughs] Ask Rain about that! ‘Cause we feel the same way. Rain’s like, “Aw, I’m making this beat for someone!” And we’re like “No, you’re not. Last time I checked you weren’t doing that.”
Dan: Yeah, I completely understand that. I do, I get possessive about the people in the band when they go somewhere else.
Moe: I mean, you should!
Dan: However I’m free to go do whatever I want.
Moe: Obviously. [laughs] I agree with all of that.
Dan: But yeah, I mean you have the luxury right? I mean, hip-hop vocalists. You get guest appearances and invited here and there.
Chris: You’re actually pretty picky though.
Moe: I’m pretty picky, yeah.
Dan: So what have you been on in the last year?
Rain: That Paul White record.
Chris: [On] Stones Throw.
Moe: Paul White, Bad Rabbits …
Dan: You were on the Bad Rabbits record?
Chris: That’s our homies, man. That’s our team! [Moe] actually did two songs, for their new album.
Moe: Yeah, the groups are pretty different that I’ve been lucky enough to collaborate with. But I feel like, for [Rain], see—we have a girl who sings with us sometimes, and she does folk.
Dan: We have three. [laughs]
Ryan: Sometimes four.
Moe: —Like indie rock and folk. Very singer songwriter-y type stuff. Tea Leigh.
Rain: She’s from Texas, she just moved here about seven months ago.
Chris: We snatched her up quick. She’s like “Oh. I sing.” We’re like “Cool!” She played some stuff and we’re like, “Now you sing with us.”
Moe: But that’s the next thing for [Rain], like a folk record. That’s awesome. Now I can’t very well just go and make a rap—
Dan: Like a Nancy Purdy type? Do you know that record?
Rain: I don’t …
Dan: It’s Christina Applegate’s mom.
Dan: Nancy Purdy. It’s really hard to find.
Rain: I’m gonna have to write that down.
Dan: It’s probably like a hundred dollar record—it’s sampled pretty heavily, but, it’s sorta like a folk record, Hollywood style.
Rain: I feel like we’re gonna do my sound and her sound at the same time. It’s gonna be weird. It’s definitely gonna be weird, because I’m kind of stubborn when it comes to things like that. And she is, too, so if we can combine the two without being like, too campy … Or trying to do this fusion …
Dan: Yeah, or like, what’s his name, Jesus Rodriguez. You must know about those records, right?
Rain: Yeah, I do.
Dan: That record’s super—he’s from Chicago. He’s like a politician now, I guess?
Chris: Politician, yeah.
Dan: But before he made…
Chris: Money or something like that?
Dan: No, the Jesus Rodriguez record … fuck, I don’t remember. I can’t figure it out right now. But you’ll like it. Dennis Coffey produced it.
Rain: Oh really, they just reissued some of that. Traffic just reissued a Dennis Coffey record—wait, what was the name of it again?
Dan: Which one?
Chris: Nancy Purdy. P-u-r-d-y.
Dan: It might be Nancy Pretty? Something like that. Sorry man, we could do this—we could talk records for awhile.
Moe: But see how you did that? That’s what I’m sayin’, that’s what happens. I’m a rapper, so people look at me like, oh … yeah, he must not know that. That’s usually what happens. So yeah I could rap on someone else’s record. Is it seen in the same light as a producer? I feel like it is, but I don’t think other people do. So it’s like, yeah, [Rain] can go off and travel. He can make a classical record if he wants to.
Dan: Well, you could too.
Moe: Well yeah, I can too, but I don’t think that people—I don’t think their first thought is, you know, “This guy wants to make a folk record.”
Chris: We surprise people a lot when they have conversations with us about music. They talk to us about hip hop and we’re like—literally, hip hop is maybe fifteen percent of what I listen to on a daily basis.
ON THAT CHIP ON YOUR SHOULDER:
Moe: “Deny Me Not” speaks to me shitloads because I’ve been in the city for over ten years and I’ve had my fair share of heartache, disappointment, rejection … from music, from the city, whatever. Was there ever any one particular moment that told you that you were finally being taken seriously as an artist?
Dan: No… I still… I like that chip on my shoulder. So I’m gonna hang on to it.
Dan: I do, I like that chip on my shoulder. I like to carry around, it keeps me—I have to prove it to myself.
Moe: There’s always more. You just gotta stay hungry, too.
Dan: Yeah, like we’ve had an amazing year. We really have. We’ve had an amazing ride and people have been super supportive us, but I just don’t feel like we’re done. I don’t feel like we’re through. So, like I said, I’ll hang on to that for a little while longer.
Rain: You gotta stay hungry.
Moe: But it’s funny man—my kid is 15 and I started a year before she was born. I started writing for the first time. I never wrote a rap—anything. I’ve been doing it that long and having no one recognize it, what I was doing. And then all of a sudden people are like “Yo, you’re my favorite rapper!” or “You’re my favorite rapper from Boston!” I was in California for a number of years, too. So during the Lif and Axe kind of rise, I was with a group called Mission. So I kind of missed the whole Boston hip-hop boom. You know, I listened to it from across the way [laughs] but I wasn’t here. I didn’t see it. And it bums me out because I knew all of them beforehand so it would’ve been great to see them doing really well.
Dan: Right. Well, and they did.
Moe: They did. And they still are. They’re still doing amazing, but yeah, even when people say that my record is the greatest thing that they’ve ever heard or that we’re changing the Boston scene, or whatever, I don’t believe it. [laughs] You know? I don’t believe it, man. That’s one person. That doesn’t mean everybody feels that way, and I know that I can always get better.
Rain: We’ll see if we did ten years from now. You know? [laughs] We can’t really tell right now.
Chris: A lot of people come through here; whether they be from here or whatever.
Dan: Well it’s such a big college town.
Chris: Everything flips over every three years. That’s why it’s so hard with Boston music—it’s hard to hang onto fans because everyone just leaves. Even if you get a solid following, slowly but surely everyone just leaves Boston.
Meeker: It gives you the pressure: you’ve got four years.
Chris: Right? It’s crazy.
Gendron and DeFalco, along with Josh “Truth Elemental” Gagne, have run their label on the same business model since 1996: as long as they make their money back, and have enough to put into the next project, that’s good enough. That approach has not made any of them rich, but is has established Brick Records as the outlet from which most, if not all, of the most important and influential Boston hip-hop acts of the past 15 years. Continue reading
It’s a good time to be M-Dot. The Lowell-based rapper closes out the year fresh off his win for best hip-hop act at the Boston Music Awards, having already rocked City Hall in August and seen his collaboration with French DJ Jean Maron RUN MPC released to positive response this fall, all while preparing his formal debut for next year. Continue reading