Novembre hasn't broken up

Just a little update because I know a lot of people have been coming to this site after wondering why the band Novembre has been so quiet lately. Vocalist and guitarist Carmelo Orlando said recently that the rumors they have split up are false. He also said Novembre are revealing some "unexpected news." I have no idea what that means exactly, but the good part is the band hasn't gone anywhere yet. If you haven't read it already, check out an old interview here. Remember I wrote it about five years ago so don't judge the quality too harshly!

Onra - L.O.V.E

Originally published at passionweiss
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By Jimmy Ness
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Onra’s latest strand of funk makes you feel like a baby-faced Prince still elegantly rocking crotch-hugging leather pants and frilly silk shirts. “L.O.V.E” has an obvious post-disco 80s influence with cloudy funk vocals, nostalgic synth-work, and beep-bop you’d imagine little green men grooving to. It’s the perfect soundtrack to hot weather, pool parties and driving a ragged convertible around Florida. Yes, I just described Miami Vice.
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The first leak from Onra’s forthcoming Fools Gold debut displays his evolution beyond the vintage boogie-funk of 2010 album Long Distance with half-spoken vocal samples and summer vibes. But the Vietnamese-Parisian producer doesn’t just make music for dance floor disciples. His Eastern inspired beat tapes Chinoiseries I & II contained unique Chinese vocal samples from the 50s and banged harder than a ninja assassin smoke grenade. The 30 year old has also drawn more than a few J Dilla comparisons by writers desperate to categorize his protean production.

If you’re a crappy Youtube artist thinking of adding vocals to “L.O.V.E” or any of Onra’s beats, please don’t. I’m wearing a tight pink suit and growing a puffy blonde mullet. I don’t want anyone to kill my excited preparation for Onra’s new opus.
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DJ Carnage Interview

Originally published at

Passionweiss

DJ Carnage is a young producer who doesn’t care about old school rap values. He’ll make authentic gutter music for grill wearers and annoy them next week with poppy dubstep. Sneaking on the internet radar after producing Kreyashawn’s collaboration with Theophilus London “Shrimp Pt.2”, his uniquely rhythmic bass obviously stood out and he’s continued to carve a creative sound, whether working with the A$AP crew or remixing Beyonce.The DC native is also a charismatic rapper who smiles in all of his music videos and swears too much during interviews. We talked on a fuzzy phone line about working with the A$AP Rocky, smelling manure in Maryland and his varied production style.

By Jimmy Ness

What have you been doing at Coachella?

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Man, I’ve been out here on the Borgore tour. You know, I’ve been on the bus with Document One and Borgore and we have been doing shows and shows and shows. One of the stops on Borgore’s tour is Coachella. We’ve been watching other shows too, it’s pretty cool. I watched Rehab yesterday. I also watched Feed me, Madeon, Afrojack and we watched Swedish House, oh and The Black Keys.

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I read on Twitter, you said Kendrick Lamar sounded a bit like DMX?

Kendrick ….uh yeah when he was rapping he was very grungy, I don’t know. I can’t do real hiphop music, like I can’t listen to it. It has to be fast or obnoxiously stupid or something. I don’t know, I just can’t sit there and listen to someone try to be lyrical. You know, I just can’t do it.

Tell us a little about yourself?

I’m from Maryland, DC. Umm I’m 21 and ah you know, fuckin’ living in LA now because there’s more shit to do than in Maryland. I was out in the country. There were too many fuckin’ cows, waking up every day with the smell of manure and shit. So that’s just how it is, I’m living in LA now. Fucking young ass just turned 21 in January.

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How did you start making music?

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My mom and my step-dad bought me a Studio Bible and it was when I was living in the country. I had nothing to do so I just fucked around on my computer and tried to do something with my life. I just started making beats and long after that I got good, and I moved to LA. Your production style is very diverse.

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How would you describe your sound?

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Honestly, I don’t know. My influences are weird. One day I want to make some trap ass gutter shit and listen to Gucci. Then the next day I want to make some Progressive House like Swedish House Mafia, or some random day I just want to make some motherfucking grungy ass dubstep or

something. My managers hate it too because I have to make some hiphop shit and I’m just not in the mood , I just wanna make some dance shit. Or one day I have to make some dance shit and I just want to make some weird-ass bass shit. I don’t know. It’s whatever the fuck I feel like, I need to change my work ethic but that’s how it is.

What is Trap-Step?

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Trap-step is a mixture of trap music, you know the snares and 808s. You know the entrance of a trap song then right before the verse is about to come on you drop some nasty sick ass tune. It’s like the best of both worlds. You get to hear some grungy ass shit that makes you want to grit your face and as soon as the drop comes on, you want to slap the shit out of the person next to you.

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A few years ago you flew to Hawaii and watched Kanye make a beat for My Dark Twisted Fantasy?

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Yeah it was my boy Lino who told me to go out there. I went out with him and he was like ‘yo lets chill with them.’ We went out there kicking it in Hawaii. Lino, this guy I’ve been working with for hella long, he’s a great rapper. We went there and watched them make beats for like an hour. It was weird, quick and fast but they made a lot. [Kanye] He was really nice. He was really passionate about everything.

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How do you and Kreyashawn know each other?

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I’ve known her because she used to fuck with the crew. Everybody from the Bay I used to fuck with. So we were just friends and shit cause we would Tweet, and Skype each other and talk on UStream. She fucked with Lil B and I fucked with Lil B. One day we were like yo let’s make a freestyle and shit, and from there we did “Shrimp”.

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What do you think about the hate she receives?

She’s a really cool and talented girl. I think people say the hype is leaving because she hasn’t dropped new music. But I’m quite excited to hear her album though.

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You also linked up with Theophilus London through Twitter and made the beat for “Big Spender” with A$AP Rocky?

Yeah we did, because of Kreyashawn.

I sent Theo the “Big Spender” beat around August or something, a long time ago. He went crazy over it. We finished it in Australia and I was like “when are we going to release it?” Then around January, this year, A$AP Rocky jumped on it. They didn’t finish it though so that’s why it took so long. Then we had to wait a couple of months to get the sample cleared, so that’s how it happened.

I met A$AP at South by Southwest but I think I’m going to meet A$AP today again at his show, him

and A$AP Ant.

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One of my favorite tracks you’ve produced is “Tell ya” with A$AP Ant and Bodega Bams. How did that come about?

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It’s really grimy. I usually don’t make music like that and it was one of those things where I randomly felt like making music like that. It was weird. I just felt like making some grimy ass shit. My boy Bodega I’ve known him for years and years, he’s my big brother, and he’s an incredible rapper. Whenever I make some grungy hiphop shit I always sent it to him cause you know, he does that New York type shit. He did it and then gave it to A$AP Ant. I didn’t know that then. He hopped on it and I heard it and it was sick as shit. Then they shot the video, everyone from A$AP heard it and they fucking pushed that shit. So that’s how Told Ya came about. I love the tune.

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Are you doing anything with the A$AP crew in the near future?

Yams hit me up and said that they wanted some tracks for the A$AP Mobb album so we talked about it and shit. You’re going to hear some new Carnage and A$AP soon. Some massive tunes.

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You also rap, is that something you do just for fun?

When I rap, yeah it’s for the fun. It’s really like I have nothing to do that day and I’m not inspired to make any beats. So I rap on some shit and people like it, so why not make more you know. A lot of people tell me they like the videos and all that because it’s really fun, like a really fun energy. And that’s how I want it to be, I want it to be like, it’s like whatever you know. But not in the whatever sense that people don’t take me seriously. I’ll tell you a secret. It’s kind of cool that I don’t take my rapping seriously because at the end of it, I know that my beats and my production is something serious. I like to fuck with people’s heads. So they hear my rapping and THEN hear my beats….. and they are like “fuck is he actually a genius?”

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What do you want to achieve from your career?

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I want to be known as a legend. I want people to see me and be like “this guy is like remarkable.” I want to be on the Daft Punk, Timberland or Dr Dre level. I want to be known, you know. That’s my goal in life, to be one of those people that when I walk in front of other people there is a whole mob everywhere, like wow! Like they are in awe. That’s what drives me. Every single time I go to a show I’m pissed off because I haven’t reached that level yet, so it makes me work harder.

Boldy James : Concreatures and Crack Spots

Here's my first article over at my favourite website 

Passionweiss

, in case you missed it: 

Boldy James has a love affair with the block. He sounds like Prodigy, flows like Curren$y and creates the kind of grimey tracks that most 90s rappers should be making. 

The 29 year old bares his wounds and retells days of struggle in a similar style to last year’s gangsta poster boy Freddie Gibbs.

Boldy’s proud of his hood conquests and the small triumphs that come from making illegal dollars. But he’s also unflinchingly honest in his failures. 

The Detroit native isn’t playing Scarface and importing Cocaine straight from a Mexican cartel. He’s trying to get off the ground while fighting with family and thinking about the consequences of life in prison.

Last year’s mixtape Trappers Alley: Pros and Cons snuck under almost everyone’s radar. It had enough of an East Coast sound to get the old heads jumping in their rest homes, if only they had listened. 

Chuck Inglish (James’ younger cousin) supplied the majority of production with help from relative unknown Brains. The album features raw soulful beats which allow room for Boldy’s slurred flow. At 30 tracks deep it’s too long for a single listen, but he carries the project surprisingly well for his first full-length.

While Young Jeezy and Rick Ross are busy being millionaires, James keeps his raps authentic with regional name drops and enough cryptic dope slang to make Raekwon smile.

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Might as well give it all to me, I can move it all, magical with the wand, don’t panic when it dissolve, that’s just it’s purest form, no additives but the arm and hammer.”

When Boldy states “I sold dope my whole life” on track six, it seems entirely believable. His knowledge of local spots, characters, and jargon portrays an intimate knowledge of his craft. Despite a few missteps such as the boring sex talk on Killin’ In The 5

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, there’s a refreshing lack of unnecessary bravado and over-exaggeration.

The concrete king doesn’t spend too much time talking about imaginary guns or girls. Each of his detailed stories is mixed with a grim touch of self-reflection. Many lyrics seem autobiographical and he doesn’t shy away from rapper sore-points such as feeling scared or alone.

On ‘Optional’ James openly states that selling weight wasn’t his choice of career.

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I deal drugs, because the money come much quicker. But I never wanted to be a drug dealer. Giving sacks and satchels to the young critters, setting a bad example for my little sister.”

These small hints at vulnerability make Boldy more interesting than most trap rappers. Admitting that he’s not invincible brings him closer to the listener. 

We can empathize with personal worries about safety and relationships, more than we understand putting rims on a Maybach.

James later personifies his street corner as the feminine Connie (from concrete) and dubs himself a concreature. They are separate entities, but have formed a tangled relationship.

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My old lady steady bullshittin’ telling me to stop, but I’ll leave her fucking ass before I leave this fucking block. She loves me, and you ain’t gotta love me. Cause if you don‘t, the block will hug me.”

The duo have an unhealthy alliance, which is doomed from the beginning. 

Boldy relies on his neighborhood alleyways for income, but he also knows they’ll be his downfall. By focusing on the personal strain of selling drugs, the concreature enters under-explored rap territory.

Boldy James might be a feared dealer, but he’s also the first to admit he’ll be sleeping in jail cell sooner than a mansion.