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Beast Behind the Beats Week VI – Supreme Trackz

Updated correction: Website is www.supremetrackz.com not supremetracks.com

That’s what I thought when this interview ended. Ahead of me was the arduous task of transcribing a whopping fifty minute phone interview into a condensed article. However, I didn’t mind.
I wanted to listen to this interview again…and again…and again!
You guys thought Ambush Vin made SciFiMusic? Wait until you read this interview.
I almost rushed to the basement to find my old Daniel-san costume to wear during this interview. I felt like the grasshopper.
I was the pupil. However, this time…I didn’t mind being schooled!
(Gong Crash)

Supreme Trackz

Website: www.supremetrackz.com SoundCloudsoundcloud.com/supreme-musik


What’s good Fam?
Supreme:  What’s up Man?
Man, I didn’t even realize that you were a producer for Psychodrama. I [email protected]$# with Psychodrama hard fam.
Oh yeah man, I produce for all of the stuff for Buk, Psyde, and Newsense. I’m also going to be on the Psychodrama reunion album coming out at the end of this year. I’ve  produced for them, Face Mob and a lot of cats from Texas.


Face Mob? Wow, so you’ve been in this game for a minute huh?
Man, I’ve been making beats since like ’94.
We’re from the same school of hip-hop then! I can tell that by the soulful melodies of your music. What is your inspiration?
The inspiration I got was growing up and my parents played a lot of Isleys and Al Green and stuff like that. I grew up on that stuff. As I got older, I just wanted to utilize what I listened to. That music stuck with me. I just felt like soul music had a certain type of feel. You don’t get that feel now with the Electronic music. It’s a completely different frequency.
Yeah, you know what you’re right man. It is a different type of vibe.
It is man but everything changes. It’s at a point now…rap music is at a point now where everything is going back to the ’80s. This is where we are at right now. If you remember, the mid-80’s with Kurtis Blow, the beats he made were similar to the beats now. His beats were mostly drum machine too, but it was party music. So it’s really no different. Everything goes around in a full circle. So now we’re back to the mid-80’s. Now, the next craze that comes up, I don’t know what it will be. Maybe it will be gangsta rap, maybe pure hip-hop, but it’ll cycle again.
I didn’t even look at it that way but you’re making a valid point here.
Yeah man think about it. All of Run DMC’s beats up until the late 80’s, take My Adidas for example. That beat was all drums. Similar to the beats now, but it was uptempo.
Speaking of the new school, are there any artists that stand out to you right now?
I really only like a few songs. I bang Jeezy because Jeezy has that hardcore, gangsta, Geto Boys sound I grew up on. The problem is, nobody is making classic songs anymore. Everybody’s making songs for right now. When you think about it, the old school songs, they put their heart and soul into it. The problem is now, everyone thinks their a producer. They think anybody can do it now if you have a computer. However, when you listen, the vocals aren’t up to par. The quality isn’t there. The bad part is, a lot of younger people have gotten used to that sound. You couldn’t do that in the 90’s. You had to have good quality. You had to actually be able to rap. You HAD to be on point with your lyrics.  Or else, nobody would listen to you.
Man, that’s real! Reminds me of my 17 year old daughter and some of the music she listens to. I can’t even enjoy it because the quality is horrible.
Yup, that’s how my daughter is. She’s 19 and she listens to the same, watered down music. That’s what they’re used to. So when they hear a good track with great quality, their minds can’t even accept that!
You know I’ve been thinking about how, in the 90’s, we watched hip-hop explode in the East, the West Coast, the South just dominated for like 15 years, but when it seemed like it was our time in the Midwest, nothing happened on a national stage.
Out of that era, in our world of Chicagoland, who would say you felt the most?
Man…Psychodrama, Crucial Conflict, Triple Darkness, all of the Westside (Chicago) groups. Back then, it was a split between the Westside and the Southside. The Westside rappers brought that gangsta shit. Either that, or some laidback pimp shit. You knew a Westside rapper when you heard one. Then you look to the Southside and you had… Common. Back then, a lot of the Southside rappers sounded like they were from New York. When you heard a Westside rapper, you knew they were from Chicago. I believe the labels were confused when they came here because on one hand you have Common, and then on the other hand you have Do or Die. They probably thought, “This is too different…I don’t understand”. (laugh)
So, fast-forward to today, how can our generation contribute to the movement the younger generation has going today in Chicago? What separates us from them?
Two things. The media and the generation gap. As far as the generation gap, it goes back to what I was saying earlier. How we identified with hip-hop and what they have today. Our parents were from the Motown era. When disco got thrown into the mix it was like, “What the fuck?”. They tolerated it though until 1980 or ’81 when rap started getting popular. Then they were like, thats it, we’re done. However, there are a couple of artists who are trying to connect that bridge. For example, Psyde from Psychodrama is one of them. He does a lot of work with the yoinger artists. We need to be able to mingle with this generation. Especially with how the media portrays us. Hip-Hop has so much power, they are going to do as much as they can to destroy the movement. What they can’t destroy, they will try to capitalize off of.
Speaking of movements, I think there is another movement happening in hip-hop right now. We had a more race-based movement with Public Enemy and X-Clan. Their movement seems to be more urbanized or community based.
Man! I’m glad you said that. My daughter thinks the same way. We were talking about that and to me it’s like these Millennials are just saying, “We just want to be heard!”. I understand that. Our movement was not long after the Civil Rights Movement. It was race-based. Our parents lived through that so thats what they bred into us. That faded out. Now their movement is gonna be different from ours.
Man that’s some deep stuff.
Oh man I can get deeper than that and talk about how I make beats.I could get way deeper and really blow your mind.
Let’s talk about it! You have a different type of process?
Yeah. It all boils down to science. You have to hear me out because it’s gonna make a lot of sense, aiight?
I’m listening, go ahead.
I study and read a lot. I’m going to try not to get too deep. Everything around us vibrates, right? Everything moves. Molecules in the air vibrate at a certain speed. So it’s like I’m looking at my couch, and it’s vibrating so fast that you can’t tell it’s vibrating. However, air vibrates so slow, that’s how we’re able to move our arms and legs through the air  So, it’s the same way with music. In the 50’s, 60’s, and 70’s, when they were playing live instruments, they were playing those at a certain frequency. That’s when you had hippies and people were smoking weed, feeling good when that Motown sound came on. Everything, that vibe, was from those live instruments, depending on what frequency they were playing at. All live instruments play at a certain frequency. Now, think about it. That’s why Hip-Hop was so good in the late 80’s and early 90’s because they started sampling from that frequency. We started nodding our heads to it. We don’t even know why we were nodding our heads! Now, we get to the 2000’s and the electronic sounds. The electronic sounds don’t have the same frequency as those live instruments. That sound, the electronic sound, is a lower frequency. It’s not natural. Lower frequencies cause depression. They cause anger. Look at the youth today with all the violence, the shooting, and the killing. You know what I’m saying? Those lower frequency sounds contribute. Man, people don’t realize that.  If you had a spectrometer you could measure say, an electric piano. Get a pair of headphones and put them on a monkey and play that electric piano. You’re going to see it’s movement and behavior change. Now, if you play a real piano, the monkey would be good. That real piano is a part of nature. It’d a natural frequency. The electric sound frequencies are outside of nature.
Man, that is deep!
I told you. I can go deeper than that.
I believe you can! Let’s switch gears and talk about the album you have coming out. Tell me about it.


Well the album is made up of people that I’ve worked with. I produced the entire album. I got Face Mob on there, Psychodrama, K-Rino, I got a few cats from Denver, and the rest is pretty much Chicago rappers. A lot of songs people may have heard already, but I just wanted to compile them onto one album. I got a solo song on there too.
When do you plan on dropping it?
Hopefully I’m going to drop it by June or July. I’m gonna finish doing the promotion for it. I’m gonna shoot a couple of videos for it. I want to treat it like a real album. Making this album, it wasn’t so much about me producing it. I wanted to make something different with this album. All of these artists I worked with, if I could put them all together on one album, and and let’s promote the hell out of it! The people who like Buk, they are introduced to this dude named K-Rino. They’re going to be like, “Man! I like K-Rino. Let me see what else he’s got.”. Then the people who like K-Rino are going to be introduced to Psychodrama. It’s going to be more of a fan thing where people will gain more audience just by fans listening to good music.
Well, hopefully, before you drop it, you give me a heads-up and let me give the exclusive review here on AltWire!
Oh yeah, oh yeah
Well, bro, it was good talking to you man and I’m looking forward to the album and I will make sure I promote it hard as well! Appreciate the interview bro!
Alright  Take it easy!

Check out some tracks from Supreme’s SoundCloud!

Beasts behind the Beats Week V – Klopfenpop

Website: http://klopfenpop.com

Every now and then, I have the pleasure of meeting someone who is actually from Cybertron.

No, not Optimus or Megatron!

However, Klopfenpop definitely  fits the mantra, “more than meets the eye”!

(Cybertron should be a neighborhood in Seattle!)

I felt like a young Bruce Lee being schooled by IP Man in this interview. To tell you the truth, I didn’t mind at all!  I gained alot of insight into the mind of the musical guru. Some people make music into their life. After this interview, I realized Klopfenpop was indeed rare in one key aspect…

…he turns life into music.

I wonder if he can turn lead to gold also?


Speaking with you, you understand a lot about the elements of music. Have you ever had any training or been taught music theory?

Klopfenpop: I had piano lessons growing up, so that was a great foundation. But honestly, a lot of the most important things I learned were just from hearing things, painstakingly figuring out how to replicate them, and then researching until I figured out what the technical terms surrounding it were. Later, I was a music major for one semester in college before dropping out. That taught me about modes, though that’s still something I understand on an intellectual level while never having been able to “feel” it very naturally, but string arrangements and best practices for composing harmonies were probably the most valuable thing I took from my brief university stint.

How did you get your start into production? Who was your inspiration?

It started off when a friend in middle school introduced me to the program Goldwave. It was (and is) a freeware audio program that has no multi-tracking or tempo functionality. I cut my teeth making remixes on that and eventually was introduced to Reason by my older brother. I still use Goldwave for certain quick edits and batch conversions today. A lot of producers I know actually still keep a copy around.

Honestly, my main inspiration to make hip-hop and to learn production was the hidden track before Remote Control on “Hello Nasty” by The Beastie Boys. I still remember the first time I heard it on the radio. It’s a sample of an old Chilean song that’s looped, then out of nowhere this huge drum break comes in and plays with it. It blew my mind. It was an epiphany. They were playing multiple songs over each in a certain way and making a new third song. They were making art from art—an audio collage, but resulting in a new coherent whole. Since then, it’s just been me responding to the revelation and mystery of that moment. Not long after my brother played me Cut Chemist’s “Lesson 6: The Lecture” of the self-titled Jurassic 5 album and that kicked everything up to a whole new level.

You produce other genres besides hip-hop, in fact you have a wide range. Who is your favorite musical artist that isn’t a hip-hop artist?

Man, I have a hard time narrowing down favorites—I tend to have a pretty eclectic musical appetite. For production and instrumentation Nine Inch Nails, The Notwist, and Vulfpeck have been and continue to be very influential on how I think about creating and shaping music as a whole as well as inspiring very specific sounds and techniques.

Music from my record collection that’s always influencing me is stuff like Ramsey Lewis, Ray Charles, Wes Montgomery, and The Nat Cole Trio. Individual musicians that I often find myself studying are James Jamerson, Randy Newman, and Darren King.

I also find myself drawn to the more dark or contemplative classical composer from the early-mid 19th century through to the early 20th. From Wagner to Chopin to Dvořák to Mendelssohn to Brahms to Debussy to Prokofiev to Rachmaninoff.

Oddly enough, I’ve also really been enjoying the recent revival of the sort of old-time music, Dixieland, old blues, western swing, bluegrass scene. Some of my favorites doing that stuff are Dom Flemons, Pokey Lafarge, The Devil Makes Three, and The Cactus Blossoms.

Back to hip-hop, it seems like you guys are creating a different type of vibe for hip-hop in the Pacific Northwest. Yourself, Lex Lingo, Bill Beats, Death Star, Shubzilla, etc.  Is this a movement or just friends collaborating?

I think it’s both. There’s definitely a real range of technique and musical sensibilities within the crew and the local scene as a whole. It all seems to smell like the Northwest, though, you know? The PNW is pretty eclectic as a rule—everyone is into a lot of kinds of music, different cuisines, cultures, etc. I actually live just a mile from a Little Korea neighborhood.

Unfortunately, we’ve got a huge legacy of racism, as well. Oregon was founded as a state with a law literally forbidding black people from moving there. Washington forbade Chinese people from voting, later passed the Exclusion Act forbidding more Chinese people from moving here, and eventually culminated in hundreds and hundreds of immigrants having their homes torched, being physically forced onto outbound ships or to Eastern Washington out of fear for their lives. Our record with Native affairs is by no means good. Our state fairgrounds were used as an internment camp for people of Japanese ancestry. Our police are in a continuous process trying to shrug off the endless investigations finding that they are violating the Constitution, federal law, and human rights. While we’ve legalized recreational marijuana and enabled rich dudebros to open small-batch, artisan weed shops, people of color who were disproportionately arrested (then incarcerated with mandatory minimum sentences) on literally the same block for selling the same drug, are still sitting in prison for breaking laws that no longer exist.

People up here want to remain ignorant to this stuff or pretend like none of it has any ramifications on our local culture, but it does. I’ve travelled a lot around the country, and Seattle is one of the most insidiously “secret racist” places I’ve ever been, but it’s still seen to outsiders (and insiders who are kidding themselves or remaining insulated) as this sort of liberal ideal of progressivism and forward-thinking culture. While a lot of people try to take pride in that, I think many in the artist community here are trying to come from a more authentic place and deal with the actual, real world we’re coming from. Sort of rebelling against the hipster bullshit that Seattle is known for and calling it out for what it is.

Who is your favorite hip-hop artist of today?

As far as rappers Chance The Rapper, Jidenna, and Sammus. Producers would be Wax Tailor, The Weeknd, and Kanye West. My favorite group is Dollabin.

If somebody gave you a scepter and a crown right now and told you, “YOU are the king of hip-hop”, what direction would you take it?

I’d leave it exactly as is. I don’t feel like I should be the guy to make that call. Sure there’s a bunch of shit I can’t stand or am just unimaginably bored by, but I also think the fullness of artistic expression is important. It helps push the boundaries of genre, technique, technology, writing, culture, and music into new places that will almost certainly be greater, more important, and more long-lasting than whatever happened while clearing the path needed to get to that new place. I loathe smooth jazz with all of my being, but it came directly out of my favorite late 60s and early 70s jazz fusion like Bob James, Herbie Hancock, Deodato, etc. And it’s what ended up paving the way for jazz to join back up with the thread of hip-hop—the very genre that was shaped by sampling those guys’ records—and make gritty, sample-based trip-hop, which I love.

More importantly, though, some of the most important leaps forward in art come as a response to—and often in direct opposition of—the current state of art. So while I may not be into Future, I love Atlanta underground and can’t wait to hear how that scene ends up rebelling against that to make something totally new and fresh as a response to it.

Rockstar, Rapper, or Hippie? Why?

Rapper. Too practical to be a rockstar, too cynical to be a hippie.

What projects are you working on right now and what do you have planned for 2016?

Right now, I’m working on some tracks I’m really excited about with Lex Lingo. You and I will be getting some hotness happening with my guy Bill Beats this spring that I’m super excited about. I’m working on a really innovative project with Doogie Howitzer up at Han’d Solo records out of Canada that involves like a dozen rappers and will probably end up on vinyl. I got to produce a crazy electro-metal song with Alpha Riff and Yugen for Riff’s forthcoming joint. MC-3PO of Death*Star (aka Rook The Rhymer) and I are working on a concept album of really dark progressive hip-hop album themed around classic gothic literature (you can hear a couple of the seeds of this project from last year’s NerdcoreNow VPC competition). I’ve got a couple beats on the illustrious Press B’s long-awaited Sexy Space Music. I have a few more cuts in the works with PovertyMan after the success of last year’s Not Safe For Anybody EP that I had the pleasure of mixing and doing some additional production on. Lavos and Yaki from The Moderators have a couple of my beats they’re working on, at the moment, and everything they touch is flames.

Someday, I’ll get around to finishing up my own next album Haiku de Grâce.

Listen to a few Klopfenpop’s dope tracks right here! Hear more tracks on his website at klofenpop.com


Beasts Behind the Beats Week IV – DJ RadioHead

Website: http://djrhbeats.com

SoundCloud: https://soundcloud.com/djradiohead

The following events are based on a true story!

April 2015

The night was rainy with a gloomy overcast. Thunder clapped outside in a grand, other-worldly type of crescendo.

The two emcees sat inside of the home studio, listening to beats online.

“I’m not feeling any of these beats, cuzzo,” Ambush Vin said.

“What type of beat you looking for fam,” the red-haired emcee known as Silence responded.

“I don’t know. I’ll know when I…” Vin stopped mid-sentence, as a lightning bolt struck right outside the window. “Damn!”  he jumped, knocking over the coffee he was drinking.

(eerie music starts playing in the background)

“Yo, Vin,” Silence said, “you hear that?”

The eerie choral arrangements and piano sample combined to make a wayward companion to the storm outside. The thunder claps actually seemed to be a part of the melody. The orchestra samples accented the growing tension of the storm.

“This beat was the soundtrack to the perfect storm,” Vin thought, as another lightning strike ensued.  “Force Lightning…that’s it!”

This week I got the chance to talk with the Beast behind the beat that eventually became “Darth Prefectus”,  DJ Radiohead!

DJ Radiohead


How long have you been producing and what got you started?

DJ Radiohead: I have been scratching vinyls since 2000 and producing since 2005. The cuts on Outkast’s “Wheels of Steel” started it all.

Do you have any sound or style that you prefer creating over another?

My personal preference is Boom Bap. I grew up on East Coast Hip-Hop. It played a big role in my sound.

Vinyl, Cassette, CD, or .wav?

I always choose to sample from vinyl, but I will sample cassettes and VHS tapes from time to time.

How long does it take to create a dope beat?

A dope creation could take anywhere from 5-10 minutes to 5-10 hours. Every beat is different.

Which do you prefer, creating organically (from scratch) or sampling?

I will always prefer sampling. To me, there is nothing better then finding a dope sample that you had to dig for. I spend about 2-3 hours a week at local record shops digging weekly.

If you could pick any artist out there to produce an album for, who would it be and why?

I would love to produce an entire album for Freddie Gibbs. I’ve always been a fan since I first heard his Mixtape “The Miseducation Of Freddie Gibbs” & really enjoyed his Piñata album produced by Madlib.

Here is a track from DJ Radiohead’s SoundCloud:

Beasts Behind the Beats Week III – DJ RoboRob

DJ RoboRob’s Bandcamp: https://djroborob.bandcamp.com/

SoundCloud: https://soundcloud.com/djroborob

This week on Beasts, I had the honor of interviewing one of the most creative producers in NCHH!

No, not the National Campaign for Hearing Health, which is an actual group!

Tip: Keep this group in mind, because you won’t be able to stop yourself from playing DJ RoboRob’s Monday mixes at Mach-shattering volumes...

However, the NCHH I speak of is the Nerdcore Hip-Hop Community. RoboRob is 1/5 of the well known collective, RPG-Unit, (The other 4 are: STaRF, Alpha Riff, King Pheenix, and his wife Starby), and he also produces all of their music.

Not to mention, he also is a hell of a House & EDM Producer/DJ!

Luckily, I caught him for this interview!

I must’ve have caught him in between his transformation from “Robot” back  to “Rob”.

Ouch! Stop throwing the tomatoes already! I get the point!

DJ RoboRob


The first question that I am dying to ask is, where did you come up with the name DJ RoboRob? The Rob part is obvious what about the Robo part?

RoboRob: I’ve always had an affinity for robots, androids, mecha anime, synthetic life, AI, etc. Data from Star Trek :The Next Generation was a huge inspiration from a young age. I wanted to bring some of that into my music with the chiptune influence (8bit music) as well. Nothing says robot like the beeps and boops of GameBoy music.

What do you think about the huge explosion of EDM?

In general I love it because it puts my type of music on the map but I hate the term EDM. This all encompassing term is too broad for the multitude of genres and sub-genres that fit into it. It’s like calling everything that has an emcee on it “Hip-Hop” I think with all genres there is about 90% that is just trash but, I feel the market is over saturated with garbage right now because of how popular electronic music has become over the past few years. Everyone wants to be a DJ, play the big stages and rise to fame quickly. A lot of people that don’t know a minor chord from their ass and think they can just pick up tables or open a production suite and make bangers. And a lot of people get away with it because they have money for high profile marketing. I don’t blame the explosion of electronic music though, just greedy people and greed is not what electronic music or any music should be about. Money is fine! Gotta find that balance. (yessh sorry kinda went off on a tangent there.)

Hey, no problem man! The people want to know your opinion! So, tell us about your vision, what motivates you? What makes DJ RoboRob tick?

Creating what I hear in my brain to come out the speakers. Connecting with others without saying a word. Also, if I’m being real, putting food on the table. Trying to find that balance ya know?

It’s interesting to someone with such love for the EDM Genre have a firm footing in Hip-Hop. Were you always a Hip-Hop fan? What was/is your inspiration to produce Hip-Hop?

Was I always a Hip-Hop fan? No. Actually, I couldn’t stand  Hip-Hop because lets face it, a lot of hip hop in the 90’s was cheese. Then I heard “Brother Ali – Champion EP.” After that it was everything I could get my hands on! Immortal Technique, Grieves, Aesop Rock, ATOP, Cunninlynguists, Atmosphere, Del, People Under The Stairs, Ces Cru. If they got something to say that isn’t money, bitches, bitches, money, I’ll listen and it influences me, in one way or another.

What is your favorite album at the moment?

I honestly don’t have one album that is a favorite. Too much good music out there to pick just one, in my honest opinion. I’m also really bad at listening to entire albums in one sitting. If I had to pick one that has been on constant repeat I’d say “Noisia & The Upbeats – Dead Limit.” Just insanely aggressive drum and bass with amazing progression, intense atmosphere, and stellar sound design.

You have a nerdcore hip-hop collective called RPG-Unit that you are a part of and also produce the music. How did this concept come about?

When I started dating my now wife, Shelby, she came to me with the idea behind a Borderlands 2-themed album with 4 emcees doing perspective raps as characters from the game. We hit up our friends (carefully picked, I might add) KPX, Starf, and EyeQ to fill the roles of the characters. I started chopping up music from the game and everything just started falling together. We’ve had a couple people in and out of the group since it started, but we’re a solid core now and it’s been a journey ever since we started.

What are your goals & plans for 2016?

DJ RoboRob & Friends – The Album (working title… bleh) is being worked on right now. Hella collabs with nerdcore emcees and some fantastic producers. Planning to drop it early summer. I am looking to tour in the spring and fall with some con dates sprinkled in the summer season. I have literally spent the last 2 years upping my production game, and I’m ready to get out on the road and make people move.

Thank You RoboRob for the insight and stellar interview! Here is the link to an EXCLUSIVE preview RoboRob gave us just for this interview called, “Vodka Penguins”!


Beasts Behind the Beats Week II – Bill Beats

Photography Credit: Sayed Alamy

There is a lot of irony in this installment of Beasts Behind the Beats. In this age of evolving Hip-Hop, Trap, and EDM music, my first interview of the new year is with a master of the classics and a beast behind the turntables. Listening to this producer’s work takes me back to the ’90’s.

<Cue Doctor Who Theme>

(Of course I have a Tardis! I’m cosmic, remember…)

I’m back in my Slick overalls and Lotto kicks and my Step-Fade has mysteriously re-appeared!

OK, I may have went over the top with that last part.

Time for a subject change…

So, um…yeah. Without further delay (or embarassment!), ladies’s and gentlemen, 1/2 of the duo who took you to Dinner and a Movie…

Bill Beats


Hello, Bill! Let’s start from the beginning from your “Big Bang”. What made you start producing Hip-Hop?

BB: My older brother had a pair of turntables when I was 12 and at the time I was heavy into De La Soul, Tribe Called Quest and The Jungle Brothers and I knew they were using records to make beats but I had no idea how. I would go over to my brothers on the weekends and just sit for hours looping Dave Brubeck’s Take 5 Intro back and forth and playing around with Nautilus by Bob James and a ton of other records he had in his collection. It wasn’t until about a year later that I got my first pair of Numarks and started to record loops into a computer. At the time I was using WavLab 4 (that I got off of Napster) and you could only have one track playing at a time so I would record my loop in, duplicate it out and then pull up Fruity Loops, make a 4-bar drum loop, export as a .wav and then paste that drum beat on top of my sample loop. I would then have to continue this process until it was done. I really only made one full beat like that until I went out and bought an MBox with Pro Tools.

Wow…talk about a drive to make it happen! How do you explain your sound to people?

BB: My sound is very throwback. Early 90’s, East Coast Hip-Hop with that lo-fi crunchy drum work mixed with a late 90’s West Coast Funk Groove sample underlay. I always go for a “Beauty and the Beast” style where my samples are really pretty and the drums are are trying to wreck your ears.

Who is your favorite rapper that is creating right now?

BB: I have been really feeling the West Coast at the moment. Fashawn, Blu, Cheewee and U-N-I. I have also been listening to a lot of Run the Jewels and Prhyme.

How about of all time?

BB: I love everything that comes out of the Rhymesters camp and I have been listening to them for so long now and they never disappoint. Atmosphere, Brother Ali, Eyedea and even the newcomers like Prof and Dem. They have always been the level I want to achieve with my music. When it comes to the classics, what I tend to put on loop in the car: Gang Star, Group Home, Jeru, Pete Rock and CL Smooth, KRS-One, Black Moon, Pharcyde, De La Soul, and of course Tribe.

We all know that you are 1/2 of the Shubzilla & Bill Beatz duo. How much influence does Shubz have on your production and vice-versa? Do you guys feed off of each other?

BB: I feel like she really gives me a reason to stretch my creativity and really go for a sound I normally wouldn’t even try. One of the big goals with any project with her is to push her to her limit and make her deal with new styles. Whether it’s the beats and drum patterns, or even just pushing her to move away from her comfort levels and come up with new flows. We had a few times on Boomers where she would come back with something and I would have her spit it to me bar by bar and I would give her some direction on where to move in and out of the beat and that really pulled me into fitting the beat to her sound as well. When we get together to work on tracks, it normally comes real easy and she is always putting at least 150% on her side.

If you could pick any musical act to work with right now, who would it be?

BB: I would really like to do a project with Murs. He is a great rapper that really works with his producers and knows how to make great tracks. With every album he drops, I realize that he could be one of my favorites of all time. Outside of that, I would do a mixtape with Macklemore to steal some of his shine, and also to try and ground him back into Hip-Hop.

What projects do you have in store for us this year?

BB: I have a ton planned for this up coming year. I am going to continue to release beats on SoundCloud for people as the year moves forward, just to build my catalog and also keep my name on peoples playlists. Death*Star has a few projects projected for this year that will take up more of my time than I would like. I also have an instrumental album in the works with a good friend and much better producer than myself that should be coming out around summer, as well as a Bill Beats For President Vol. 2 if I can fit it in. On top of all that, you already know me and Shubz are going to drop another heater! This will be the year of content. I plan on making 2017 the year of touring.

Follow Bill Beats on SoundCloud @ soundcloud.com/billbeats