[MP3] The Doom Brotherz – Man In The Mask

Solid hip-hop out of Calgary, AB ! Heller of Peace magazine actually put me up on this one. Track off The Doom Brotherz‘ The Doom Brotherz – The Mystery of the Phantom Flames album.

[MP3] Shad & DJ T​.​Lo – Hang On

Great new track from Canada’s best kept hip-hop secret, Shad. Here’s the official blurb:

After hitting the road promoting Shad‘s latest, Flying Colours, longtime touring partners, Shad and DJ T.Lo, hooked up to complete ‘Boarding Pass.’ The 5 song EP features seasoned Producer and Turntablist DJ T.Lo handling all duties on the boards with Shad exclusively on the mic. Together the pair expresses their shared passion for the music; flexing the skills they’ve been enthusiastically developing over nearly a decade of work together.

[MP3] #DK11 Project Interview with Emay – Dash

In my books, the homie, Emay is one of the most underrated rappers in Canada. Why his incredibly creative music and rhymes aren’t being talked about more in both hip-hop and alternative circles is completely beyond me but artists like him are part of the reason I even still keep doing this blog 11 years on.

The whole purpose of originally starting Different Kitchen was to champion and shine the spotlight on talent I thought was being unheralded and/or criminally overlooked by other outlets. In 2014, the hive mentality of much of that passes for music writing or journalism online and on social media has made that mission even more important. Suffice is to say, as with all the artists on the This One Goes To Eleven… compilation album project, I think Emay is dope and someone you should be paying attention to. Starting right here with this interview I conducted with him a few days ago…

DK: Hey Emay, good to finally connect. So my first question is: you’re still pretty under the radar on the scene even though you’ve been around for a while now. Even though your home town of Hamilton is super close to Toronto, can you talk about the pluses and negatives of being a rapper living there.

Emay: This is actually quite weird because I seem to be somebody that a handful of people know or have heard of, yet at the same time I’m somebody that nobody has heard of. I’ve been at some pretty random shows and other places where people have actually known who I was. Or friends have told me stories where they were talking about my stuff to other people and the other person had actually listened to one of my random releases. This is funny to me because I kind of like the idea of being a ghost. My goal is to be a very influential ghost though, so we’ll see how that goes. So far I think I’m doing a pretty good job of existing in non-existence.

DK: What about life in Hamilton?

Emay: In terms of my living in Hamilton, I actually love it here. The music scene here has been flourishing quite a bit over the past few years. We might not have the numbers, but the array of talent and diversity is pretty amazing. Artists and bands such as Lee Reed, Mother Tareka, Haolin Munk, and Canadian Winter that are situated here are great examples of that. It’s also a very welcoming scene. I’m not a Hamilton native, but I most certainly feel like one these days. I think it’s a perfect scene for me because it’s a great opportunity to generate a fresh sound that can be associated with such a unique, underrated, and misunderstood city. People tell me I relate to those adjectives.

DK: I first got up on your music via James from Hi-scores and your music treads a line between traditional underground hip-hop (that some might term ‘backpack)’ and what some would call alternative rap. Can you talk about your musical influences and how they inform the style of music you make?

Emay: In regards to rap, two of my biggest influences have to be AZ and MF DOOM. Listening to those two forced me to be really technical in terms of my flow. AZ’s style stuck to me just because of how smoothly the words flow when he lays them down. All you have to do is listen to the first few bars on “The Format” and you’ll see what I mean. The patterns he uses are just so goddamn crisp. ‘You know the chronicles, the shit that if mama knew, the stress the drama do, the tech’s phenomenal’. If I wrote that sh-t I’d have to put the pen down for a minute. The funny thing with DOOM though is that he’s more unorthodox with it, but still very technical. I actually never liked DOOM the first time I heard one of his tracks. I had never heard anything like it, in terms of his overall sound, so it took some adjusting. But once I got it, I got it. I think I converted after I heard “Accordion” and “One Beer.” Some other major influences are One Be Lo and O.C.

Now, when it comes to production there’s Lord Finesse, Prince Paul, Dilla, Kev Brown, Kanye West, El-P, Just Blaze, Stoupe the Enemy of Mankind, Flying Lotus, DJ Premier and the list goes on. I really stuck to producers that were able to create their own signature styles while still being very diverse in terms of what they sampled, the drums they chose and such. My goal on the production and rap tip is to be blatantly influenced by my favorites, but still fully original at the same time. When I create I don’t consciously attempt to do this, but it’s certainly something I strive to accomplish.

DK: Well, you’ve definitely done some really creative, original things musically, like the Karen O and the Kids EP which sampled songs from Where the Wild Things Are soundtrack and “Racist on Purpose” where you wrote from the perspective of a white supremacist. Where does that kind of creative inspiration come from?

Emay: I think it just comes from everything around me. I think that every “original” idea derives from older ideas that take newer forms. I mean, if you listen to early Rock music I’m sure you’ll hear remnants of what we now call Punk, Hip-Hop, Metal, and so on. Whether it comes to ideas for songs or concepts for entire projects, I think there’s a similar process of the mind taking what it wants and discarding what it doesn’t deem useful. Sometimes I make beats where an entire bass line is directly influenced by one that I heard from another song, but because it’s in the midst of different sounds, it takes on a new feel. Or it brings the same feel but just interacts differently with its new surroundings.

DK: Out of all your mixtapes and EP projects, which is your favorite and why?

Emay: I think that Adam was my favorite one because it was the hardest for me to make. Choosing to do all the production, writing and rapping took boatloads of time, but it was more than beneficial. I learned a lot about what it takes to create a full length project, and I think it helped me develop as an artist the most out of my projects. Adam, and everything before it was my attempt at finding my sound, or myself. Adam in particular was like the fusion of my rap self and production self. Now I feel a lot more comfortable making beats for myself and writing for those beats.

DK: “Dash” from the This One Goes To Eleven… album is a really good track, can you tell me what it’s about from your point of view and the process behind making it?

Emay: “Dash” was an interesting track for me because it was the first beat and song I made in Ableton. To me the song was just about an artist’s dreams being crushed. I wanted to depict that the persistence of individualism in our society puts a lot of pressure on people. There’s this notion that a person’s goals not being reached is entirely their fault, and it kind of blinds us from recognizing the societal factors at hand. For example I was having a conversation with somebody the other day about how a lot of what we call “conscious” rap can actually be very narrow-minded in that we see a lot of rappers blaming other rappers for not being as “righteous” as they are and such. This idea is also inherited by the listeners of said artists as well. This is narrow-minded because it blames the one individual for perpetuating a certain ideology but doesn’t look at the bigger picture. The bigger picture being that we live in a capitalist world, so the labels/businesses will only be concerned in what sells. The amorality of such a system is really what generates a lot of generic and formulaic art. A lot of artists feel the need to follow a certain format to be “successful” and then the emulation spreads like a virus. But yeah, the song is pretty much me depicting an artist or creator in a very depressed state.

DK: It’s not from your next full length project though, right which is the Sinner, Songwriter EP? Can you talk about what we can expect from that project?

Emay: Sinner, Songwriter EP is a project that I’ve been sitting on since late 2012 I would say. I had some of the beats since then and wrote for them as well but just wasn’t ready to do anything with them yet. Eventually I chose to go back and refurbish a lot of the verses and added a few more beats that I couldn’t turn down. This project is really different given that I’m working with a different producer for every track and only really had to write the lyrics for the songs. I also made some minor mixing adjustments, but all the beats were created by others. The lineup includes Giraffage, Star Slinger, Hut (who is also the drummer for Haolin Munk), RD (or Resolved Dissonance), and my dude, Hollow Pigeons from Toronto. I love this lineup because they’re all some of my favorite producers that I’ve known for quite a while, so I feel honoured to be flexing over their tracks on this project. I think this project will also cause people to focus a little more on my bars for a change. I know I’m not the only producer/rapper that gets a lot of compliments in regards to their production but gets their raps ignored at times. Although the people that really listen to bars know what’s good.

DK: Thanks for contributing “Dash” for the #DK11 comp. Before we wrap, is there anything else you’d like to add or share about what’s coming up for you or that you haven’t had a chance to let the world know via your music or previous interviews?

Emay: I have a couple of things in the works right now. My next LP being the most important, but I’m also working on some very interesting collabs as well. One is with my dude, l-spex who is somewhat of a jack of all trades and a really talented dude. Another one is with my friend Erynne who is an amazing soul and singer. We did a little EP late last year that I will get to focus on a little more now that Sinner, Songwriter is finally complete. Other than that, I have the tendency to make random projects here and there, so we’ll see what happens.

DK: Thanks again, Emay.

Emay: Much love for putting me on the compilation and it was truly my pleasure!

Follow Emay Online: Website | Facebook | Twitter

Haven’t heard it yet? LISTEN to the Different Kitchen presents This One Goes To Eleven… album HERE

Bonus: hit the jump for Emay‘s latest release, a remix of the track, “Congo” by Bear Mountain.

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[Music Video] Watch Jai Nitai Lotus – Noir Feat. Vox Sambou & Sam I Am from Acknowledgement

Regular readers know Montreal’s Jai Nitai Lotus is the homie! “Noir” is the second video and third single from his Acknowledgement mixtape which dropped a couple weeks ago. What was the first video? Why, that would be “Pi (Brahma Built)” which was premiered as part of the Different Kitchen presents This One Goes To Eleven… 11th anniversary compilation album.

Here’s the official blur on the Acknowledgement mixtape and “Noir” video:

MC and Producer Jai Nitai Lotus (pronounced Jhai like Thai, Nee-tie) has recently released his mixtape project titled, Acknowledgement. The title is inspired by the opening song on the legendary John Coltrane album, A Love Supreme. For Jai Nitai, it’s about acknowledging the original source of creation: the Creator, as well as artists he draws inspiration from. Jai reworks an impressive variety of productions from artists such as Pusha T, Haitus Kaiyote, Kanye West, Thunder Cat, Madlib, as well as including his own originals. The Acknowledgement mixtape is being released in collaboration with Dudley Perkins & Georgia Anne Muldrow‘s label, Somothaship Connect.

Also, a new video single is being released with this mixtape project. The single, titled “Noir”, is a heavy sound clash of styles including Hip Hop, Reggae, Soca, and Eastern music styles over a Dilla-esque groove. This song features the talented Vox Sambou (Nomadic Massive) rapping in Creole alongside Jai Nitai Lotus, with the chorus sung by the incredible Sam I Am Montolla, giving an anthem-like energy. The beat is produced heavyweight Montreal Producer, Kenlo (Alaclair Ensemble). The video is highly playful, colorful, and full of imagination.

Dig “Noir”? (I know I do with that “Paint It Black” sample chop in the mix.) Then listen to the Acknowledgement mixtape by Jai Nitai Lotus in full right HERE.

Previously on The Kitchen: Read an interview with Jai Nitai Lotus HERE

[News] #DK11 Project: Interview with Jai Nitai Lotus

As long time readers know, I’m a big fan of Montreal rapper, Jai Nitai Lotus and his Something You Feel album from last year was certainly that! Enough for me to lend my endorsement to it for nomination consideration for Canada’s Polaris Music Prize last year. That didn’t happen but I stayed cool with Jai and when it cam time to start putting the THIS ONE GOES TO ELEVEN… album together, he was one of the first artists to commit a track to the project. Not only that, it also allowed us to have a full length video attached to the album too.

Jai is not only a talented artist & producer, he is a spiritual & thoughtful person and that essence is infused in the music he makes. It was again an honor to have him be part of the #DK11 project and a pleasure to get to chat with him and get some insights into his music and the world view that informs it. Check it out here:

DK: I think I discovered your Something You Feel album totally by accident while randomly surfing the mostly-Toronto focused cityonmyback site one day. Despite wanting to support as much good domestic hip hop as I can I find it hard to find out about much outside of Toronto where I live. What challenges have you found getting your music out as a Montreal-based rapper?

Jai: Everything is so saturated. It’s hard to get your music heard period. So I really feel like it’s about time, place and circumstance… and being different, by being yourself. Who you know can really play a huge part of it too. We tend to know more people and outlets within our own cities, so I feel my reach is sometimes hindered by not knowing the right people elsewhere. That being said, Toronto has actually showed me some love and I appreciate it.

DK: What’s your thoughts on the controversy around fellow MTL rappers, Dead Obies being attacked for rapping in French and English?

Jai: It’s silly.

DK: OK. Most outsiders probably share your sentiment that it’s silly to attack the Dead Obies on that basis but obviously the issue is quite serious for some in Quebec. I’m wondering if you have any additional thoughts on the matter? Is this, from a language pov, a source of concern for Francophones who’ve made it an issue analogous to how the rise of Macklemore or Iggy Azalea is for those who see their success as diminishing the role of Black culture or artists in hip-hop?

Jai: I question the motives of whoever criticized Dead Obies for rapping in ‘franglais’ (French and English mixed). I have a hard time believing the criticizer gives a damn about the genre of hip-hop. I think it has other political motivation, and maybe someone just looking for an interesting angle for a story. Regardless, ‘franglais’ is being spoken on the streets all the time, and it only makes sense it would make its way into music, you can’t control that. The Macklemore/Iggy Azalea criticism is different in terms of the magnitude, it involves white privilege, and so many other factors. I also believe that criticism comes from within the hip-hop community, whereas in the case here in Quebec it’s coming from outside the community.

DK: Something You Feel was an amazing album especially because, while you covered a lot of musical ground style wise, it still felt like a cohesive body of work. Can you talk about your goals with the album and how you were able to do that?

Jai: My goal was to make a honest record that really reflected my thoughts and sound. Doing what I love with zero compromise when it came to artistic integrity. Everything happened very organically when it came to creating. It’s really about having a complete vision to how everything connects, from the music to the artwork to the videos…to how you feel. I’m grateful for the way people’s responses have been and how they have connected to it.

DK: The track you produced for Ian Kamau, “You, I” that dropped recently has been buzzing a fair amount. Kamau talked a bit about how the track came about in the PR blurb he blasted the video out with but can you talk about how you came to meet and work with him on the track from your pov.

Jai: The first time I heard of Ian Kamau was the phone message K-Os put on his album. Fast forward to early 2012 while working on the SYF project and I fell on a short doc on him. So I reached out to him and he had heard of me as well. Later, when he came to Montreal we met up and talked at lengths about music and art. When he came back this year I invited him to my home/studio and we made the “You I” song. It happened very naturally and I felt like it was a beautiful song right away. So I brought up shooting a video for it, and a few weeks later went to Toronto and shot the video. We made it happen all within a very short period of time. So it was a great experience, shout out to Ian Kamau!

DK: Your single from THIS ONE GOES TO ELEVEN…, “Pi (Brahma Built)” is also going to be on your forthcoming Acknowledgement mixtape which will actually be your first ever mixtape. Can you talk about the motivation behind the song, why you’ve never done a mixtape before and why you decided to do one now?

Jai: It took me a while to be open to releasing a “mixtape.” I would record over different cats’ productions for fun, usually with no intent to put it out. But the modern-day concept of a mixtape has really changed. Nowadays mix tapes are put together like albums, so it got me open to actually crafting one. It also gives me a chance to sorta acknowledge other cats that I appreciate and draw the connection to what I’m making. So when I heard Stalley‘s “Petrin Hill Peonies” and the way he worked the Charles Bradley sample, I was very inspired to write and had a complete vision for it.

I reached out to a good friend and collaborator, producer/DJ, Shash’U and went to him with the sample, and we recreated it. I laid the vocals down, and started a rough hook with intent to have the very talented Sam I Am Montolla sing it properly. Her style really matched it perfectly in my eyes. Then I’m like damn it would be great to put some visuals to it. I started scouting locations and began the audio/visual journey. The process of crafting the Acknowledgement mixtape was lots of fun for me. I’m used to producing, writing, recording most of what I do so it allowed me play with sh-t differently. It’s about half and half in terms of originals. I’m looking forward to dropping it Sept 5th.

DK: OK, finally: this might be a tough one but I’m wondering how you feel about the demonization of hip-hop around suspected ISIS member and James Foley beheader, Abdel-Majed Abdel Bary who is being labelled in the media as a rapper, ‘former rapper’ or ‘hip-hop jihadist’?

Jai: I’m no expert on this story. It’s a very sad, crazy circumstance. But, it’s curious the way media is playing the angle of him being a “rapper” in all the headlines, like that had something to do with his actions. If in fact he is the right guy. I think there are plenty of other things they could focus on that may have triggered this insane behavior. I always find it funny when hip-hop gets portrayed as a one-dimensional evil villain. Hip-hop music is a cultural medium that reflects society as a whole with many unique perspectives. Sadly, the music industry and media tends to only give you the negative one, which actually then fuels more of the same. It becomes a cycle and a sort of twisted formula that artists coming up often feel that they need to comply with in order to get attention. My hope is that, as the music industry continues to move in an independent direction, we’ll start hearing that unfiltered variety of music that is underrepresented in mainstream Hip Hop today.

DK: Thanks for your time, Jai and thanks for the “Pi (Brahma Built)” track for the comp.

Didn’t hear “Pi (Brahma Built)” yet? Click play right here or on the video above (then check out the THIS ONE GOES TO ELEVEN… album):

Song Credits:
Written by Jai Nitai Lotus & Sam I Am Montolla
Produced by Shash”U
Cover Art Design by Tiffany Pilgrim for Tiffany Pilgrim Art & Design
Audio mastering by Neil McDonald & Paul Kehayas for Echosound Studiolab

Follow Jai Nitai Lotus online: Facebook | Twitter | Instagram

Follow Sam I Am Montolla online: Twitter | Instagram