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 interview

Boldy James avoided stale drug dealing clichés and showed he had a knack for gritty storytelling on last year's mixtape Trappers Alley: Pros and Cons. The Detroit rapper exposed his guilty conscience over warped soul production and showed an unheard side to hustling. James spoke

through a thick haze of marijuana smoke about being physic, trying to leave the streets and collaborating with Alchemist.

By Jimmy Ness (originally published at Passionweiss)

Who introduced you to rap music?

My two big homies from my block on the East Side where I used to live, actually we just came from over there. They call themselves Rich Gamble and Doc Proctor and they do beats. 

They used to rhyme and shit. I was like five or six when I jumped off the porch and started fucking with them.

What was your first rap album?

It would have been some Heavy D & The Boyz, MC Hammer or Dj Quik's Born and Raised In Compton. 

Were you inspired by any local acts?

Locally I would say just the dudes I ran with, like my fellow Concreatures and probably the late great Blade Icewood. He was a Detroit legend. He got murdered in my neighborhood about seven years back and he was the best thing smoking around here. 

Detroit was in a crisis on the music tip so I guess the Street Lord'z and Juan, they brought us back for a minute. But most of us, we really be in the streets around here. So most of those boys couldn't pull their rap dreams off. Like I said Blade got killed and now Juan is in jail, it's the same old story around here man. I'm just trying to break the mould.

Did you see a future in music?

Na I never did anything but write raps to help me temporarily escape my reality, that’s all. I was going to write raps whether I made it or not because that's just something I always did.

I got a big family man. I got three little sisters, I aint got no brothers but I got a whole lot of cuzos and shit. We mostly come from broken families so we be meeting each other all the time. If my people need me I gotta do what I gotta do to be there for them. So they don't have to resort to doing anything against their morals and do nothing crazy for money like sell drugs to the little fellas in my family, or turn tricks and be out here stripping in clubs.

I guess I'm the sacrifice you know. That's all that really mattered to me, everything I do is for my family.

You released your first project Trappers Alley: Pros And Cons in your late twenties, why did it take you this long to put an album out?

I just never got focused enough to take the music seriously. I used to think someone was going to hear me and think I was this great rapper, and possibly just drop a stack of money in my lap. But you know, that aint how this work. You got to put the work in first and you get the payoff later down the line.

I was in the streets not knowing that this could possibly change my life and I wouldn't have to take things to such drastic measures all the time. My younger cousin Chuck Inglish from The Cool Kids, he's been doing his thing for a minute now and we been doing music way before we knew any of this shit was going to pop. He stayed focused enough to pull it off for himself and his family, so I had to buckle down and realize the things that were important in my life.

You know how some people go school to have something to fall back on if whatever they are shooting at don't work? That's how the street is. She always has open arms. If ever anything wasn't working for me or if I needed to get some fast money or something, that's what I ran to.

Chuck Inglish supplied the majority of the production for Trappers Alley, did you grow up making music together?

I've been making music with Chuck forever. That's the first person I ever made music with other than a few people from the neighborhood like Proctor and Rich. I've got so many songs with Chuck and over Chuck beats that are in the archives, you would be surprised. 

We talking about hundreds of Chuck songs, no joke.

Brains also laid down some beats, how did you two link up?

See Brains is from Jersey originally, he stays out in the Chi and I met him through Chuck. I've only known Brains for the past four or five years or whatnot, but that's my people.

Brains he's my in-house producer, my personal lil' engineer you feel me? He help mix my tracks and we smoke a lot of weed, just get it in the studio, just create. That's my dude.

How did you feel when The Cool Kids blew up, were you still hustling at the time?

It motivated me more than anything. But like I said, whether I did this shit professionally or if I never touched a Cool Kids track and you'd never heard of me man, I'd still be writing these same raps. 

This is what I do bro.

You're talking about was I hustling then? Shit I aint never stop hustling. I'm trying to crack the code on this rap shit so I can pull this miracle off for my family and get out the streets.

I don't want to put my family through the same stories you hear about, the shit most black parents in my predicament go through on the regular eight to nine times out of ten. You know nigga get locked up, shot over some stupid shit, crippled, catch a disease, be out here strung out on drugs or some shit. You know that affect your kids. I'm just trying to let my kids see what a real man is by example. You can't be out here talking people to death, if you want to lead you gotta be a leader.

I really like how there's a lot of personal reflection on the album and you aren't afraid to admit weakness. Why did you decide to include this stuff rather than go the typical rapper route?

I'm a humble dude. Being in these streets, it took me through a lot of ups and downs. I've been through it all, so I know what to do in any situation. But for the most part we real easy going people over here man. We don't want to do nothing but make sure the family eat and make sure we happy with just the simple things in life.

Fuck all that other shit, it aint about that man. For the most part it's about what makes you happy. It doesn't take a lot to make me happy. As long as everything in line, I'm good. I'm easy.

Like I tell everybody man. It's just music. You believe what you want to believe. I'm just writing from a Donald Goines standpoint. I really live this shit so it's nothing for me to pick up a pen and tell you about how my day went or about a situation that just occured or some shit. I don't have a real broad imagination. I just be kicking it and I just tell it how it is man. I be humble, because that's really me.

Why did you call yourself Boldy James?

That was my big homie. RIP to my man Boldy James, James Osley the third. The significance in the name was he was my neighbor and we grew up across the street from each other. 

The streets took his life away from his family and all his friends, and we miss him.

Before he died my homeboys always told me I got this type of physic shit or something. I be seeing shit sometimes, I be calling it and it just be that down the line. Divine intervention or whatever you want to call it.

I picked the name before he died because my dude didn't rap he sold cocaine. So when he passed it was just weird that I took his name and ran with it, and my dude was like there you go on that same shit again.

So now he just live through me because he was my family and I really loved him man. He really took care of me and looked out for me. He showed me a lot of things and that's the reason I'm still here to be able to have this interview with you today.

Your album is extremely localized and talks about a lot of specific people or places in Detroit. How does it feel that people all over the country are enjoying it?

That's beautiful to me because all I do is write the music to make sure it hit home with me first. I feel like I'm a people's person for the most part you know what I'm saying? I deal with a lot of hands on shit with people on the regular so I know how to deal with people. When I write the music I expect it will touch real people in a certain kind of way and hit a certain spot in their heart, and if that's what it’s doing then I'm doing my job. That feel real good man.

I hear you've been recording a full length with Alchemist in LA and you are hoping to get a Prodigy feature?

For sure, we got like 10 done now. We just got some more work to do cause I work different than a lot of people man. I just crank the joints out then I sit back and smoke a million blunts, then listen to the the songs.

[On the Prodigy feature] That aint no problem man it's the family. What up Big Noyd. We the mob. Real talk. Everywhere I go that's the only activity I know, criminal activity. Mob life. All that. That's how we live, Detroit city to the rest of the US man. Every city I touch down in, that's all love. 

It's all good, if I aint got it I can get it.

You're also releasing a new project on February 27th?

Consignment: Favor for A Favor (The Redi-Rock Mixtape). It's going to be crazy man. I got my man School Hustle from the Drugzone, my neighborhood. Someone I knew personally for over 20 years. I got my man Rich, J.P. I got Blended Babies on a couple tracks on there. Brains is all through the joint, you know we put a couple of classics together for ya'll. LEP Bogus boys are on there and more.

Anything you want to add?

Concreatures #227. We here man and I just plan to keeping making good music for you all, and I hope you enjoy the show that's all, you know. Roll up.

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

TH

, 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.

The Crystal Method interview

Disclaimer: I was a kid when I wrote this so please withhold any judgements on quality :)

Dance duo The Crystal Method rode the commercial boom of electronica in the 90s and haven't let up since. Their music has appeared in more than 30 films and currently serves as the soundtrack to TV crime series Bones. Groove Guide magazine tries to discover the secret to making a decade of toe tapping beats.

By Jimmy Ness

Glow sticks and sweaty pill-poppers are the first things that come to mind when you imagine dance parties. But Ken Jordan, one half of iconic duo The Crystal Method, says there was more to the electronic scene in the 1990s.

"Early on it was kind of renegade. It was still a lot of raves. They were not that well organised, they were not at normal venues. You wouldn't even be sure the event was going to happen."

"For us, we were interested in the whole thing. Yeah there were drugs on the scene, but we were more interested in the music, the lights and the big stages. You have to make music that sounds good to sober people too."

Ken sounds remarkably grounded considering how far The Crystal Method has come. Before co-creating one of America's most popular electronic groups, he met music partner Scott Kirkland while they were working at a supermarket in Las Vegas.

The pair made their own studio dubbed "The Bomb Shelter" in a house they owned together.

"We built it inside of a garage. We didn't know how to build anything so we weren't very good at construction, but somehow those walls and the ceiling stayed up for like 13 years," Ken laughs.

"It was a real amateur job and it kind of looked a mess, but it sounded pretty good and it was soundproof. Early on we had no air conditioning. It was pretty rough in there, it was tough to invite people to come over to work."

Their first album Vegas came out four years after they started The Crystal Method in 1993. It was a breakout success reaching platinum status in the states with many songs used in film, advertising and game soundtracks.

Unlike dance acts who are good for a ringtone download and forgotten a minute later, they proved themselves to be a group worth knowing about.

The Crystal Method were invited to provide music for Hugh Jackman's latest film Real Steel and recently worked on a Nike soundtrack designed specifically for exercise. The group is also famed for their collaborations and have worked with Tom Morello, Scott Weiland and Pete Hook of New Order.

But what lead them to DJing? Ken says, in his casual way, that electronic music was "sort of like a natural progression."

"We liked Depeche Mode and stuff like that. It was just something you could do with samples, synthesisers and drum machines. So it just kind of lead down that road and then we went to some raves, and we were like wow this is great music."

The duo further ensured their longevity with a broad sound which included experimentation with rock and heavy metal influences.

Ken says that's not likely to change either.

"Rock is what we grew up listening to before we started making music. That's what Scott's dad played for him and my older brother for me. We love it then, we've always loved it and I think that will always be a part of our sound."

Sounds fair enough to me.