[MP3 + Interview] Mickey Factz – Me & My Paintbrush

Mickey Factz is a special artist here at The Kitchen. He’s one of the first new acts that we championed on the site and, without idly boasting, we were the first blog to support him back in the day and helped put him on the map. And in turn, he helped put us on the map as a tastemaker site that other tastemakers checked for that signaled to people that they needed to be checking for The Kitchen too.

Seven years on from when we first introduced him to the word, we still strive to fulfill that role of being the freshest, supporting the new & dope and not just following the (blog) crowd. Mickey set the bar for the kind of acts we love to support most here at The Kitchen: ridiculously talented, creative and really saying something of substance. Art (music) can be fun but it can also make serious statements about the world we live in and that’s the standard I try to reach for with this blog too. And with that, let’s get into the conversation we had with Mickey a couple nights ago about his career and the excellent track, “Me & My Paintbrush” he gave us that closes out the This One Goes To Eleven… album:

DK: I got put up on you back in the day when I was at Jive and knew Kwasi from the industry. He passed me your In Search of N*E*R*D mix CD (it was still CDs back then!). I was pretty leery about checking it out but I knew Kwasi was a pretty plugged in cat so I gave it a shot and was pretty blown away. What’s your thoughts on that tape looking back now?

Mickey: Wow, man. This is like a time machine. October 2006, I believe? (Ed note: March 2007, actually) I’m glad you checked it out. You were the absolute first person to put me on a blog. I’m happy you were blown away. I listened to the project not too long ago. It’s still impressive given that a lot of the tracks I rapped over, people still haven’t. Pharell loved the tape and put one of the songs on The Glow In The Dark mixtape. Back then it was like a 9. Nowadays, I’d give it an 8. Its still lyrically superior to a lot of stuff out, from just spitting to topics.

DK: Your crew, GFC could be considered part of a loose cultural hip-hop movement that back then was still pretty nascent, Cool Kids, The Pack, Kid Cudi and few others here and there but which has essentially taken over the sound & fashion aesthetic of hip-hop in the seven or eight years since? Did you see that coming or what’s your feeling on where hip hop has gone in the past few years?

Mickey: Um… Back then, we were just having fun being in our own little world. When your with tastemakers, that’s what happens. Especially with the clothing. We knew people would jack that. As for music, I always said it would be the soundtrack to 2016. And we 2 years away and you see it, Lol. I find it to be flattering a bit. I just find it a little disrespectful how I was clowned so badly back in the days and now it’s basically the norm for artists to follow. As long as people from back then can co-sign my marks I’ve left in the hip hop game, I’m happy with that.

DK: You were one of the first rappers to really build a career via social media with your track-a-week freestyles and really build your presence and name via blogs rather than traditional media. Now that everyone pretty much tries to do it that way and it’s become the de facto artist development template, what do you do now to make yourself still stand out?

Mickey: I have a very personal connection these days with my Facebook followers. So much so that quietly I go viral at least once a week with them. They also were my biggest contributors for my Indiegogo project. I continuously just have creative things I want to push for. Especially visual wise. Collaborative efforts with brands are still one of my strongest attributes. I also just make really good music. People who don’t like me have to at least give me that.

DK: Ironically you ended up signing to Jive after I left there. What was your major label experience like?

Mickey: I want to say that I loved being on Jive. There were times we bumped heads but the people that I worked with really believed in my work. There were really only 2 people that I couldn’t rock with. Aside from that, I was very happy. I coulda did more and vice versa but it was a great experience. Moving to RCA, was the dagger in my heart though. That really was a bad experience. It made me hate the music industry a bit. But as you know perseverance always comes through.

DK: You’re an artist that seems equally comfortable spitting over traditional hip hop beats or more hipster electronic or dance music sounds? Can you talk about what in your background led to that being the case?

Mickey: Well coming up in The Bronx, I’m a true Hip-Hop head and can debate with the best of them. I studied the greats and what they rapped over. The shift happened because of the New York scene in 2006/2007. The things we were listening to: Telepopmusik, Daft Punk, N.E.R.D., etc. and I felt like incorporating what I was inspired by into my music. Why not, you know? I found myself rapping over crazy instrumentals that people wouldn’t dare touch but still opening up my fan base to people who listen to those sounds. I would still go in over boom bap stuff so they knew I wasn’t something or somebody to sleep on or play with when it came to straight raw lyrics.

DK: You’re also an artist that isn’t afraid to take on political and social issues in your music (like your Sean Bell track) but doesn’t get all preachy about it? How do you manage it when so many other rappers can’t or are afraid to still.

Mickey: I recently was asked about this. For me, I just feel like I can tell stories extremely well. Its just one of those qualities as an emcee I possess. I also try to stay middle grounded when it comes to politics with a spice of edge. Being knowledgeable in so many different facets of life can also add to that equation. The Sean Bell situation I was getting tired of rappers reaping the benefits of his death by creating music that Flex could put bombs on it. So I decided to tell the story from his point of view. And people loved it. I’ve done this many times after and continue to speak on different issues we as blacks deal with as well as things I deal with in my life.

DK: Out of all the mixtapes you’ve done, which is your favorite and why?

Mickey: Mickey MauSe is probably my favorite project hands down. It took me 9 months to create. I produced the whole thing, I grew a beard, became the character, researched the 80’s, wore the same outfit for 9 months, etc. I became the project. Lyrically, it was story telling on another level, production was top notch, I sampled Dangermouse and deadmau5. So inspiring.

DK: Talk a little more about the process behind making and the meaning of “Me & My Paintbrush”? The track kind of came out before. How come you never gave it more of a push?

Mickey: PACE had sent me a track while I was in Colorado. I was creating a bunch of singles. No real Mickey Factz music. So I decided to speak on everything that was going on during that time. Just painting on the canvas. I put the song out with no promo because it was just for my fan base. It was a record that didn’t make the album. I then took it off when it came down to your project, good brother.

DK: In the track you make reference to XXL calling you pretentious and then praising Jay-Z for his “Picasso Baby” performance piece, care to elaborate on what you were trying to say there? Do you feel like, even though you’ve been in the game for a while, you’re still relatively overlooked for your innovations in the game?

Mickey: It goes back to the Mickey MauSe project I created. Mickey MauSe is a street graffiti artist from the 80’s who grew up around Warhol, Basquiat and [Keith] Haring in NYC in the 80’s. It was a super honest depiction of what happened in that time period coming from months of research and interviewing people. A XXL writer reviewed the tape and called it pretentious. Saying I was teaching too much or something of the sort, don’t want to misinterpret. That really hurt me more than anything because I really indulged in that project. I wanted to show people, don’t just say these artists names, know their work and worth. Jay does “Picasso Baby” and its “OMG I love art! This the greatest thing ever!” Its sad but true. I said on MTV if Kanye had created Mickey MauSe and did the same thing he would be called a genius. I’m always overlooked and will always be overlooked for the things I’ve done, started and contributed. As long as true fans know what I’ve done it’s OK.

DK: Finally, I’ve asked this question to all three of you but there are 2 other Bronx-based artists, Noah Vinson and Joel (fka MaG), on the album which I’m happy but bummed about at the same time since I was a Brooklyn head when I lived in NY and there’s no BK artists on it. Do you know those guys and what does being from the BX mean to you as a hip-hop artist and as a person?

Mickey: I don’t know these guys. I believe one of them reached out to me though. I have nothing but love for all Bronx emcees ‘cos we are so overlooked. Being from The Bronx there is so much weight on our shoulders. But the love and respect comes from everywhere.

Haven’t checked out “Me & My Paintbrush” yet? Hit play right here:

Missed checking out the whole This One Goes To Eleven… album? CLICK HERE to listen to it in full.

Song credits:
Written by Mickey Factz
Produced by Pace
Audio mastering by Neil McDonald & Paul Kehayas for Echosound Studiolab
Art by Tiffany Pilgrim for Tiffany Pilgrim Art Direction & Graphic Design

Follow Mickey Factz Online: Website | Facebook | Twitter | Instagram

[MP3] Beeda Weeda Feat. Young Gully – Us

Sample Brownstone‘s 90s R&B classic, “If You Love Me”?? Yeah, Beeda Weeda & Young Gully did it for us!

[via Thizzler.com]

[MP3] Lauryn Hill – Black Rage (sketch)

This is rough as hell but Lauryn Hill speaking on the Ferguson situation is just one of my favorite things (pun very much intended….)

[MP3 + Interview] Interview with DJ M-Rock, Producer of 416 Band – Feel Bad

“Feel Bad” is track #12 from the THIS ONE GOES TO ELEVEN… album recorded by Toronto’s 416 Band, a new project produced by 2013 Red Bull Thre3style Toronto champion and remix/production wiz, DJ M-Rock. M-Rock was gracious enough to answer a few questions about “Feel Bad” and his remix, production and DJ work last week. Check it out below:

DK: The first time I ever heard you DJ was actually on the radio on the legendary but now defunct Sat. 1-4pm CKLN hip-hop show shortly after I’d moved back to Toronto from living in NY. I’ve heard and seen a lot of great battle Djs and turntablists but, as I recall it, you were doing some things on that show that melted my mind and I swear I’d never heard DJs do before in terms of scratches and cuts. Do you remember that day and what you were doing?

M-Rock: I remember that day, it was Halloween weekend, and my friend Dan who ran that show asked me to do a set. I showed up in an afro wig (ed note: !) and just improv’d a boom bap set. I was just doing a few of my tablist things that DJs have forgotten to do, digital juggling, doubles, blends, what not. I wonder if being a mixing DJ who can scratch will ever be cool again. It was real badass to know how to scratch and mix when I was a kid

DK: After that I started getting your mixtapes and then after that your remixes. The quality of the music was matched only by presentation they were given, in terms of the art and the press blurbs you’d send with them. Not everyone really does that any more, you get an @ tweet with a bit.ly link saying, “Play my sh-t!” if you’re lucky, lol. How important is it to you to take that time to present your music properly?

M-Rock: It’s not as important as the music is, but it’s just me to talk about the music after it’s made. I’m doing less of that now, because I work with Adam Feeney (artist who’s sampled in Drake‘s ‘Zero to 100’), and I see how much he’s done with minimal online marketing/writing. That’s also definitely my school/family background, in terms of caring about those fine details in terms of presenting something. I also had experience from creating my old DJ crew’s website funkyteknicianz.com, which taught me about making things look decent, clean, and professional yet still intimately written.

DK: Out of all the remixes you’ve done, which is your favorite and why?

M-Rock: Thanks to your blog, and Mark Ronson, and CNN’s Bloomberg TV show, I’d say I’m happiest with my ‘Get Lucky’ remix. I can’t really remember the fun it was in creating the strings I used, those moments are pretty fast paced. I’m just happy with how people have received it. It literally took me from a dead soundcloud page to a ton of listens.

DK: You ended up working with Mark Ronson on his ‘Authentic Sh-t’ radio show. Did that come through the Daft Punk remix?

M-Rock: Yeah. He was looking for a “Get Lucky” edit, he found the one you had posted which ended up on Hypemachine. He tweeted out that Djs should probably be playing my version, and he started playing more of my stuff, and eventually reached out to see if I wanted to do a guest set, which led me to do his shows more and more. His new album is gonna be pretty damn dope, watch out for that.

DK: When did you transition away from doing the remixes and re-edits into doing the original production and working with live artists & vocals and why?

M-Rock: Around December 2013. I saw Ronson work in the studio for a day, and he was making the rare groove stuff I love from scratch, and he played me a bunch of songs he had done in a similar vein. As soon as I got back in the city, I bought a bass, and a month later, I got in touch with Adam Feeney, who’s making original samples in the big leagues, and he saw potential in my work. Now that’s my entire focus, the reason is that I love good music, and now it’s time to make music that’s 100% something I’m involved in, not just an edit.

DK: 416 Band is an intriguing name for a group. Can you talk about what the concept is and what the “Feel Bad” track is about?

M-Rock: The name’s just a spin off simple 80s funk names like S.O.S. Band or Average White Band. “Feel Bad” is all about the typical sitcom/movie scenario: boy loves girl, girl is dating the douchebag with no soul, and no appreciation for her. Musically, it’s about dancing. I hope people move to it a little. It sounds kind of new, it kind of doesn’t, and just like everything I’ve done, I don’t know where to place it or how to label it. I just hope y’all dig it.

DK: Final question: when I first heard “Feel Bad” it gave me a bit of a Chromeo vibe. Do you see the comparison and if so, what’s your feeling on anyone making it?

M-Rock: Music speaks for itself, and any comparisons to Chromeo or anyone are welcome, in fact, they are pretty flattering even though I myself don’t listen to them. I was going for an old sound actually, but if you hear something newer, then that’s cool with me. I’m just glad people don’t hate the track (well 4 of my friends do, ha). In fact, I’d love it one day if people could compare my stuff to Midnight Star or Daft (Punk), that’s what I’m going for.

Want to check out some of M-Rock‘s previous production and remix work featured on The Kitchen? CLICK HERE.

Song credits:
Written by Maneesh Bidaye
Produced by DJ M-Rock
Audio mastering by Neil McDonald & Paul Kehayas for Echosound Studiolab
Art by Tiffany Pilgrim for Tiffany Pilgrim Art Direction & Graphic Design

Follow DJ M-Rock Online: Website | Facebook | Twitter | Instagram

[News] Interview with I.James.Jones and NaNa of The Names Are Known

The This One Goes To Eleven… 11th anniversary compilation album has been out for a little over a week now and it has been a great success so far. Exclaim! co-premiered the album and it has gotten support on an album and track basis from blogs like CityonmyBack.com, Peace magazine, DJBooth.net, Pigeons & Planes, Potholes In My Blog, Elementality, All in a Day’s Work, and many more….

Now that people have had a chance to marinate with the album though, we’re going to delve into the personalities behind the album and learn a little about their music and process. The kind of questions I’ve always wanted to ask the groups whose music I have loved enough to support on an ongoing, repeat basis here at The Kitchen.

To begin with, we’re gonna kick things off with I.James.Jones and NaNa of Toronto hip-hop duo, The Names Are Known. This feel apropos because, not only did they contribute “Known P.S.A.”, the track that kicks off the This One Goes… album, it also kicked off the 11-day promo launch campaign on August 1 with this excellent instagram video trailer.

James and NaNa are so cool, they not only made that trailer but also graciously consented to produce IG video trailers for three of the four other pre-release singles from the album, often under incredible time constraints, so I will be forever indebted to them for their time and support of the #DK11 album project. And now a few words with them on their group and the music they make:

DK: Talk about The Names Are Known, how y’all came together as a group, the concept behind the names etc.

James: in a lot of ways there was already a group before there was The Names Are Known. NaNa and I linked up back when I was throwing the goodpeople party (Honour Rebel), and he was throwing good music parties. We had known of each other, but one night we both found ourselves crashing at the house of a “legendary” Toronto hip hop figure (lol, I won’t name them just to keep some mystery). By morning we had hatched plans to build together, and make goodpeople and good music sibling parties. From there, there were years of twists and turns, and the “group” might have had other members at times but with NaNa and I there was always loyalty and understanding.

So Names came out of years of parties and making music but it became Known about 4 years ago when I reached out to NaNa for guidance and collaboration in developing a project. It didn’t take long for the realization that this would be a partnership to set in and from there we went to work.

NaNa: Yeah, it cemented once we started working together while I had my stint at Czehoski’s. James was my/the host of the night as I dj’ed. From there we looked at approaching things as that type of duo. Whenever I got gigs James would serve as the host and down the line James asked me if I would be interested in helping him come up with material and the direction on his next album. While in the studio he suggested that it would be dope if we took the whole dj/host thing to another level and form a group so we started recording material. From there we started brainstorming on exactly what we were going to be, how we wanted to represent ourselves and how we thought ‘the masses’ should receive us. Nowadays you don’t see hip hop groups anymore, we see crews and we really are about the essence of what a Wu-Tang Clan, De La Soul, Slum Village, Outkast & A Tribe Called Quest just to name a few represented. James had an established name as drum & bass/jungle toaster/emcee and battle emcee and I have a rep as a dope dj, hence The Names Are Known.

DK: Yeah, you’re definitely known as a hot DJ in Toronto, Nana. I met you through mutual friends and always knew you as DJ who does your thing in the city but even close friends of yours didn’t know too much about your MCing career vs what you do as a DJ until recently. Was that deliberate?

NaNa: Without sounding brash I am going to say that I am hip hop. Through its inception I have participated in each of its facets: break dancer, graf artist, emcee and dj. Growing up around emcees they always made me spit when cyphers started. In school I was good at creative writing, so I have always had a rhyme book. When I started making beats and people where dissing them (lol) while being in Toronto by way of Waterloo, Masia One was actually the first to tell me I should start spitting on my own beats. Then as I got older and super self-conscious as an emcee – emcees like Tumi & Zubz (South Africa), Moka Only & of course, I.James encouraged me to keep spitting. Other than that I have always been about reinventing myself and as an artist i believe its our job to find new forms of inspiration

James: a note on NaNa the emcee. He has had joints for years (even on some of his older records), but before we started doing this there had to be a solid year or more where NaNa would just pull out a gem at the end of a night where he’d be deejaying. I think he is saving many of those gems. Maybe for a NaNa solo LP?

DK: The J(N)Ames mixtape was what really got me open on you guys. The album is based around a Dilla theme and you’ve never been shy about your love of Dilla and Wu-Tang. Can you talk about about how Dilla inspired the J(N)AMES mixtape project?

James: There is a post I did on my website called J(N)AMES is EVERYWHERE that talks about some of this.

NaNa: My music work ethic, output and my carefree approach to trying new things spawns from Dilla (and RZA) so any chance I get I try to pay homage to both of them.

DK: When I asked you for a track for the comp, even I didn’t expect what you gave me. “Known P.S.A.” is incredible: from the production feel to the rhymes. Can you talk about how the track came together and what it was like working with Fresh Kils on the track and what was the inspiration behind it?

James: Thank you and we’re glad you like it. Kils is awesome. That concept was really just some KNOWN on some mothership.

NaNa: Kils is a close friend of mine and longtime collaborator. He gave me beat tape, I picked the beats that I knew James and I could kill. I played this one for James first, he asked me what the concept was. I said there wasn’t one and just to follow my lead. We recorded everything in my home studio: recorded, mixed, edited and cut everything there and James insisted I put cuts on the track (as he always does, lol) and bong bong! I asked him what we should call it and the rest is history.

DK: Finally, Nana you’ve always waved the flag hard for traditional, underground hip-hop but I’ve noticed an evolution in not only what you play out when you DJ but your attitudes to other beat-oriented sounds that are competing with hip-hop in the marketplace now. Can you talk about that evolution within yourself as a musical & creative person who reps hard for hip-hop?

James: NaNa has always really been a source for the wide ranges of the musical universe, and the sounds that constitute the far reaches of the hip hop fabric. In a lot of ways I think the audience has finally started catching up to NaNa and I think that gives him more room to play.

Nana: I really like James’ answer, lol but like I said before I am hip hop and really I like everything or at least, I have an appreciation for all types of hip hop or styles/genres of music for that matter. My foundation is traditional boom bap/underground hip hop, I love it and will always honour it. James could attest to me taking us on a musical ride that includes pretty much every sound under the sun and at first that was me thinking we should adjust in order for the masses to hear what we had to offer. Music is all about feeling, colours, vibes to me and I can admit to being all over the place at times or simply enjoy so much music that I would like to contribute to what I am influenced by. But at the end of the day it all spawns from the traditional boom bap foundation, that’s my measure and the irony is that’s what people expect to hear from me as a dj which is cool but should never be expected but I feel that that’s what they need to hear from The Names Are Known.

DK: Are there any final thoughts you guys want to share about the group or the “Known P.S.A.” track?

James: Thank you for your support, it is deeply felt.

NaNa: Play that sh-t loud and keep it on repeat (*in my I.James voice*)

Haven’t heard “Known P.S.A.” yet? Play it right here:

Missed hearing the This One Goes To Eleven… album? CLICK HERE to listen to it in FULL. Then CLICK HERE to see some of the other tracks and remixes by The Names Are Known that have been featured on Different Kitchen.

Follow The Names Are Known online: Facebook | Twitter | Instagram