Misery Club’s debut project Club Misery dropped last month. Featuring Wicca Phase Springs Eternal, Lil’ Zubin, Fantasy Camp, Jon Simmons, Nedarb, and Foxwedding. Foxwedding really does it right with the first half of production on this EP. Handling two of the backdrops on the four song Club Misery, the final two tracks come produced by Nedarb and remain stuck up in the clouds. If you need more, the group released another single a few weeks back. Don’t sleep.
Solo artist Fantasy Camp recently let loose the seven song project How to Fix Everything. Handling production for half of the EP on his own, the emo / acoustic rap project features Wicca Phase Springs Eternal, taxpurposes, Taylor Morgan, and mertensite. Great artwork too.
In the last month, rapper Kent Loon has released two new tracks. First, he dropped the single ‘Drone.’ Produced by Psychedelic Ensemble, the thumping number quakes through the speakers. “Drone” was followed up with “Chessmaster”, a collaborative track between Loon and Chester Watson that demands a high speed drive. The two have plenty more around the corner, but these singles should hold you over for the time being.
It’s been almost two years since Wisconsin rapper Trapo released his 15 song project, Shade Trees, but the wait has been worth it as the MC returns with a dozen new tracks in the form of Oil Change. Jazzy and soulful with plenty of live instrumentation (these drums!), this is yet another unique release from a rapper in a league of his own.
A new single from Z Money is always appreciated around the parts. Produced by Lil Mexico, the newest track is “80 Bands” and acts as the lead single off of Z Money’s upcoming project, ChiraqMogul, which will be dropping later this month. Stay tuned.
Producers Squadda B and Badluck connect for the eleven track project Special Edition Instrumentals. The half an hour album blends cloud rap with hip-hop and synthwave. Tracks like ‘Another 6’ and ‘ABCG2’ hit the spot. If you like what you hear, be sure to grab a physical copy over at the Green Ova’s Bandcamp, which is a musical goldmine.
Chicago artist Moon Beby has quietly let loose two quality EPs this calendar year. With 23 dropping earlier this year, he recently followed it up with Only For a Season. Treated as a rough EP of demos, these thirteen songs (as well an an additional twelve that were released in the between time) showcase an artist honing in on his craft and his style. Prolific, lofi, ambient, dreamy, nd authentic, these are tracks to play once the sun goes down and the world is fast asleep. “Sequence of Events” demands some grass.
Last month, I spoke with New York rapper Billy Woods: the Backwoodz Studioz mastermind responsible for some of the best solo hip-hop albums of the decade. Like Dour Candy (2013), like Today, I Wrote Nothing (2015), like Known Unknowns (2017). Woods is also part of the duo Armand Hammer, a group which includes rapper/producer Elucid. The two returned full force at the end of last year with their third album Rome. Then Elucid released a solo album. Then the duo released three music videos as well as a vinyl-only album Paraffin, which dropped in July. Fingers crossed for a digital version down the road. I spoke with the prolific MC about his creative process, his work space, his music rotations, and much more.
How’s 2018 been treating you so far right now?
Honestly? It’s been terrible. Hopefully some good writing comes out of it because 2018 has been an unmitigated disaster thus far from the moment I opened my eyes on January 1st.
You’ve released solo albums in 2013, 2015, and 2017. Given this two year pace, can we expect your next in 2019?
I never noticed that pattern before and that’s a good question. I have some stuff I’m excited about but currently waiting for some collaborators to clear their calendars, so it’s hard to say. And I hate stopping the middle of a project to work on a different one because I feel like each thing needs to be it’s own chamber, I get worried they will be too similar. Maybe that’s something I need to let go of, who knows.
Your solo and collaborative albums are incredibly consistent. Do you build them up slowly? Or do you create in bulk and trim down the tracks?
Thank you. That’s a complicated question to answer because every one of them was made a bit differently. History Will Absolve Me had lots of producers but also involved a lot of recording and winnowing out the best tracks. It was really about me and engineer/producer/consigliere Willie Green locking in and working in a bit of a vacuum. Dour Candy and Known Unknowns are basically one-producer records, there wasn’t a lot of extra fat to trim, because Blockhead (nor Aesop for that matter) isn’t giving me tons beats at a time and not everything I get is going to fit what I’m looking for. I do still have a couple joints that didn’t make it onto Known Unknowns though, and bizarrely all of them were collaborative songs. Today, I Wrote Nothing was the quickest album I ever made and was a project where form and concept dictated everything. I recorded most of that at ELUCID’s spot and it was intentionally a very un-fiddled with project. I wanted something visceral and unedited, I made songs as long as I felt in the moment, no longer, I rewrote nothing. As for Armand Hammer; collaboration necessitates entirely different processes.
You have one of the most unique, freeflowing voices in hip-hop. What’s your writing process like
Honestly, it really depends a lot on the project but usually I find a beat and see where it takes me. Sometimes I just down ideas or concept or just a line that I think might take me somewhere and then come back to that list if I am looking for inspiration. I sit at my desk and smoke and drink tea and write and yell at my cats.
What does the future of Backwoodz Studioz entail?
Nothing is promised. I hope we can continue to build, expand our reach, keep putting out records and artwork that I am proud of.
What’s your workspace/studio space look like? What are some studio essentials?
My workspace is a wooden desk I brought to my current hideout in a semi-abandoned building in Crown Heights, awaiting the gentrifiers wrecking ball. I first got this desk off the streets of Brooklyn in the early 2000s and it’s beyond scuffed, it’s probably fair to say “battered”. On top of that are three books: a dog-eared James Baldwin biography, John Stockwell’s In Search of Enemies, and Homer’s Odyssey- which I have never actually read. There are haphazard piles of bills, random photos, a hard drive, a cup of tea, water, a watch Willie Green gave to me, a big thing full of pens, markers and scissors, some Harpers magazines, scraps of paper with notes on them and a notice from the gas company that I still owe them money from the old apartment. There is an ashtray with a spliff of that Uptown Haze in it. There is a small black cat looking out the window and an even smaller silver laptop. There is an Ironman CD in the case for Dizzee Rascal’s Boy In the Corner. I have no idea why it’s even out as I currently have no CD player. There is an untidy stack of more books and graphic novels and old comics all thrown together from the recent move that I should organize but haven’t. There is a document shredder and a Sunday edition of The New York Times from a week ago. There are two separate broken pairs of headphones.
If you were to empty your pockets, what would you find?
I have never had a wallet so, keys, cash, ID and bankcard, papers, loose change, some list of tasks written on a piece of paper and folded up in a back pocket a week ago.
Outside of your own music, what have you been listening to recently?