This ebook is FREE to all you readers of Evolving Music. You can download it here. Happy reading!

If you can’t get enough of this stuff and need more remix contests to throw yourself into, you should subscribe to the Remix Comps newsletter, which will arrive in your inbox on days when new contests are added to the site. Another great resource is Rhythm Creation, also by Edward Cufaude. You can also subscribe to the Remix Wizard new promotions feed.

Here, he’ll teach you things like: How to Get Fatter, Heavier, Different Drum Sounds by Layering Your Samples, How a Remix Competition Can Help Music Promotion, and How to Remove Clicks from the Beginning and End of Samples.

Yesterday, MixMatchMusic launched MobBase, a new service that makes it easy and inexpensive for musicians to create, launch and manage their own, custom iPhone apps. While a lot of information about MobBase has already been revealed, and you can now visit MobBase to start creating your app, there are some things that we would like to point. Here are 10 things that you may not know about your MobBase iPhone app:

Create your app for free
You can register for a MobBase account and create an iPhone app for free. When you’re ready to launch, you pay a $20 activation fee to submit your app to Apple for approval. Before submission, a MobBase team member will walk you through your app to make sure everything looks good.

Your app is a blank canvas
It’s your app, and it can have your unique image, look, and feel. The MobBase dashboard gives you a blank canvas to project your artistic vision — select from seven different layouts, arrange the features however you like, upload a loading image, upload background and button images, choose your title bar color, and select color themes. Don’t worry, you can change the app’s layout and design as often as you like.

Lyrics, album artwork and credits
Too much of the album experience has been lost in the post CD/Vinyl world, until now. With a MobBase iPhone app, you can give your fans the full album experience by adding lyrics to your songs, additional artwork for your releases, and even credits.

Fans can add videos too
In addition to featuring YouTube videos and piping in your entire YouTube channel, your fans can add video content to your app. Just pick a few tags for fans to use when uploading their videos to YouTube, and these videos will appear in your app. The tags can be as specific as you want, so if you want fan footage from a specific show or if you want fans to make their own music videos for your song, just hook them up with the tags!

There’s a whole lot of tweeting going on
Twitter is not something we take casually, and neither should you.  Add as many Twitter accounts as you want to your app, whether it be one official band account, or the Twitter accounts for all the members, even the drummer:) Then, track the buzz by piping in all the “@” mentions of your accounts. You can even have conversations with your fans about specific topics, by adding hashtags — add as many hashtags as you want, and we’ll create special sections for them.

All the music you want, from our servers or yours.
You can stream as much music as you want from your app, whether it be your full catalog or just your new single. And, you can mix up what music is playable by making songs inactive or adding new songs. To add music to your app, you can either upload the MP3s to MobBase, or you can paste in a link and stream the music from your own servers.

Update your app on the fly
After you launch your app, you can update it as often as you want, at no additional charge. And, only a few of the changes will require resubmission to Apple, which means most your changes will happen right away. Some of your updates will need to be made through the MobBase dashboard (adding new music, feeds, or featured videos; or changing the layout/customization), while others (all the feed-based content you provide, like the news, blog, shows, videos, photos, etc) will happen automatically.

Hands-on support, if you need it.
While we’ve built MobBase so that you can easily create your app through the MobBase dashboard without any programming or technical skills, we’re here to help. If you want our hands-on support while making your app, you can purchase 3 months of premium support for $200. Premium support includes unlimited phone and email support while building your app; exclusive features such as multiple news feeds, integration with your mailing list/street team, and extra content; a complete app audit that will identify ways to make your app more effective; and unlimited walk-throughs of your app before it is launched.

Photos Galore
You can add as many photos albums as you want to your MobBase app, each with an unlimited amount of photos.

To sell or not to sell?
It’s your app, and you can decide if you want to give it away for free in iTunes, or if you want to sell the app. If you sell the app, you can name the price and we’ll handle all the administrative logistics for a nominal monthly fee. After Apple takes its 30% cut, you keep the rest — we don’t rev share with you!

Tomorrow (Nov. 3), MixMatchMusic will debut MobBase, a new service for musicians that makes it easy for them to create, launch and manage their own, custom iPhone applications. For as little as $0.50 a day, MobBase will enable musicians to share music, photos, videos, tweets, news, blog posts, information about shows, merchandise and other content with fans on their mobile devices.

“The iPod put music in fans’ pockets.  The MobBase iPhone app puts musicians in fans’ pockets, with the high value content that fuels the artist-fan connection,” said Charles Feinn, CEO and co-founder of MixMatchMusic, MobBase’s developer. “We’ve made it so inexpensive, even starving artists can have their own app and have the same mobile presence as major acts.”

Feinn said many artists aim to engage and involve listeners in their music in order to build deep and lasting connections with them.  Increasingly, these connections drive sales of concert tickets, band merchandise and music.  Likewise modern music fans are looking for more and deeper interaction with musicians.

“Just a relative handful of artists have launched iPhone apps,” said Feinn.  “MobBase makes it easy enough and inexpensive enough that every musician can have their own app.”

Rock-reggae stars Pepper among first bands to launch MobBase app
Twenty-two artists and labels including Pepper, Everclear, Zion I, RX Bandits, Silverback Music/Controlled Substance Sound Labs, Greg Laswell, Shanghai Restoration Project, the Jacka, Easy Star All-Stars, Rebelution, Town Thizzness, Throw Me the Statue, Killer Mike, Jennie Laws, Big Light, Stephen Kellogg and the Sixers, Black Gold, Enzyme Dynamite, The Blakes, Eoin Harrington, El Desayuno, and Gavroche have launched MobBase applications to deepen their connection with fans. To view all the MobBase iPhone apps that are live in iTunes, click here.

“Pepper fans can’t get enough about the band,” said Sally Nobbs, manager for Silverback Music, Pepper’s management firm.  “And were excited about the way that our app will fuel deeper connections with our fans, by giving them constant access to Pepper’s music, backstage video footage, photos and news, and the ability to interact with Pepper through their iPhones, no matter where they are.”

Feinn said MixMatchMusic is now making MobBase available to other musicians.

“Connecting more fans more effectively with the music they love is fundamental to individual artists’ success, and to long-term music industry revenue growth,” said Susan Kevorkian, IDC program director, Mobile Media and Entertainment. “Services like MobBase are expected to play a key role in connecting artists to their fans with cost-competitive, versatile apps as smartphones assume an increasingly central role as sources of music and related information.”

Labels and music 2.0 companies endorse MobBase
Music 2.0 pioneer IODA, along with indie labels Controlled Substance Sound Labs, SMC Recordings, Welk Music Group, Vanguard Records, Sugar Hill Records, Red Bull Records, Sargent House, and 429 Records have each agreed to offer and promote MobBase apps to their rosters of artists.

Feinn said partners are offering MobBase so their artists can build the deeper connections that result in fan engagement and ultimately sales of music, merchandise and concert tickets.  He said partners will promote MobBase as their exclusive solution for mobile applications, and that they will be marketing it on their websites, via direct marketing and other channels.

Content powers connection
MobBase gives artists a mobile, interactive fan club, storefront, merchandise table, and more.  The MobBase application is highly customizable, so artists can pick and choose the content they offer to fans and also the way that content is presented.

Feinn said there are no design constraints with MobBase.  “Musicians have a blank canvas to project their artistic vision.  We’re expecting an explosion of creativity and fun.”

Featured content supported includes:
Music.  Artists just want to make and share music.  By featuring their music in MobBase, they make it easy for fans to buy songs or even entire albums.

Videos.  With MobBase, artists can share video out takes, footage from backstage and at parties, or even feed their YouTube channel directly into the    application. Fans can also upload their own videos to their favorite artist’s app.

Photos.  An image is worth 1,000 words, so artists can create and share photo collections including album artwork, tour pictures and other images fans are clamoring for.  MobBase features seamless integration with Flickr and Picasa, so it’s easy to manage, update and add photos in real time.

News/Blog.  Artists can use MobBase to keep fans up to date on news, blog posts and behind the scenes info with RSS feeds.

Shows.  The best way to get fans to shows is to make sure they know when and where they are.  With MobBase, artists can update show times, venues, directions and other info to make sure their fans know where to find them live. MobBase features seamless integration with ArtistData and MySpace, so it’s easy to manage, update and add concert info in real time.

Discography.  Artists can connect fans with their entire catalog, album artwork, liner notes, and lyrics by featuring them in MobBase.

Twitter.  Artists can make sure their tweets reach their fans with MobBase, and fans can hear what others have to say about the band. Artist and fans can also have conversations to discuss specific topics of the artists choosing.

Store.  MobBase is like a mobile merch table, connected to artists’ web stores.  It’s a great way for artists to show their merch where it’s easiest for their fans to find it (in their pockets).

Biography.  Biographies provide fans with background and back story, information that makes the artist-fan connection that much more meaningful.

More and more.  Because MobBase is highly customizable and supports additional functionality, artists can expand on the platform to do more and engage fans more deeply.

Easy. Customizable. Dynamic.
MobBase is built on an advanced content management system that makes it easy to add, manage and update content in real-time.  Yet it is so easy to use, so easy to set up and so easy to maintain, even a rock star can do it.  And because it is highly customizable, every artist – rock star or rock star-in-the-making, can easily create their own unique app with their unique image, look and feel.  Artists aren’t locked in to a design either – they can change the app whenever the mood strikes.

Priced for starving artists
MobBase is priced for starving artists and also artists who remember what it was like to starve.  It costs just $20 to get going and many artists will never pay more than $15 a month to deliver music, photos, videos, tweets, info about gigs, merch and more to hundreds of fans.

Loopmasters.com, the ultimate audio sampling site based out of the UK. “Loopmasters first came to light in 1999 under the ‘Beatnik Samples’ banner, which released 4 Sample CDs known as the ‘Modular Series’, and received excellent reviews in the UK and overseas by the likes of Future Music (Platinum Awards), Sound on Sound (5 star reviews) and many other magazines, mainly for the flexibility and general quality of these titles. The titles were distributed worldwide and were used by many recording artists, multimedia designers, library music producers and dance music producers.” In 2003 Loopmasters officially launched. They’re not your typical audio sampling web site. Loopmasters searches for well known producers to contribute packages of useable samples. We interviewed the Loopmasters team about their product. Check it out…

LG: Hey Loopmasters, hows the audio sampling business these days? Any big news?

LM: Good thanks, lots of great stuff coming out over the coming weeks, we launch Global Underground Sample Series, and we have some great artist titles coming out including a Hardcore pack from Breeze and Styles, trance from Jon 00 Flemming, and some great dance titles from artists like Meat Katie, Jon Carter, Funkagenda and many others!

We also just starting working with Industrial Strength records who have some great Drum and Bass, Techno and Dubstep libraries amoung others in the pipeline, so its exciting times here at Loopmasters with some fantastic new royalty free samples coming from some of hottest producers on the planet. We just took over a new office which also has a nice music studio next door, and have expanded our team to help with social media, distributor projects and some new ideas we have cooking – so watch this space!

LG: What do you look for in the producers that you get to upload samples to your site?

LM: Overall it has to be quality and inspiration every time, as we can help with technical formatting and content selection – overall the producers must have passion and really know their style, genre, or instrument. Apart from that they must be ready to give up their best sounds and musical ideas for the project without worry – as we know that we have to make our customers happy.

LG: Are there any recognizable songs out there that have Loopmasters samples in them?

LM: There are a lot out there for sure, but we prefer to generally operate like a doctor/patient relationship and keep our customers identity a secret.

LG: Anything in the Loopmasters future that we should be aware of?

LM: There is a lot going on here at the moment, we are lucky to have a great group of producers buying and trusting us to provide them with the right sounds, genres and formats – as styles change we have a constant challenge to find the best people to come up with the goods. Outside of our core business we are looking into supporting our customer base more and providing useful information and opportunities – so we launched looptv.net to give an industry focus for music production, artists and interviews. Also we have an exciting record label related project launching which will be new for us and hopefully something we will be very proud of.

In the meantime – watch out for upcoming releases from our Artist and Label series, along with some fantastic products from our partner labels – a couple to keep an eye on are Wave Alchemy, Push Button Bang and Drumdrops.

Thanks for the interview, Loopmasters. Make sure to check out their profile on MixMatchMusic where you can download several of their samples!

Heads up fans, producers, and DJs! We’ve got a brand new remix contest for all of you looking for new and impressive ways to participate in the creative process and show off your DIY skills. MixMatchMusic has joined forces with Bay Area rapper Lyrics Born and eyewear company Sutro Vision to bring you a chance to remix Lyrics Born’s newest single, a re-union track with the other half of his Latyrx duo, Lateef the Truthspeaker, called “Pushed Aside, Pulled Apart.”

“Pushed Aside, Pulled Apart” will be appearing on both Lyrics Born’s upcoming Variety Show mixtape and the studio album he has due in 2010. The track utilizes female vocals, synths and moving drum and clap percussion to frame uptempo lyrics from Born and Lateef surrounding the decisions and choices they’ve been faced with making for their careers. Check out the video for the single below.

In an effort to engage and interact with fans, as well as contribute to the growing number of artists allowing fans to remix their work, Lyrics Born has loaded the stems to “Pushed Aside, Pulled Apart” into the MixMatchMusic Remix Wizard and has given you two options for making a remix: Either download the stems for free and use any software you want, or just click on the MixMaker button on the widget to make a remix in MixMatchMusic’s simple online music editor. If you’ve never experienced remixing before, or just want to see how the song was made, check out the MixMaker. Once you’ve completed your remix, upload it so that others can listen to, vote on and share it.

So what will you win? From the entries, Lyrics Born himself will be picking three winners – a grand prize and two runner-up prizes. The grand prize winner will receive a pair of Lyrics Born signed Sutro sunglasses (these shades are sweet!), autographed copies of the entire Variety Show catalog, a Lyrics Born T-Shirt, 2 free tickets to any Lyrics Born show, a meet and greet with Lyrics Bron at said show, and their track featured on LyricsBorn.com presented by Lyrics Born himself.

The 2 runner ups will each receive a pair of Lyrics Born signed Sutro sunglasses (he will sign the case), a copy of the new Lyrics Born Variety Show mixtape, a Lyrics Born T-Shirt and 2 free tickets to any Lyrics Born show as well as their remix featured on LyricsBorn.com. The official rules for the contest are available here.

So what are you waiting for? The contest starts today (Tuesday, August 25th) and runs through Friday September 25th. Tune in, sign on and start mixing!

Fan of .Evolving Music. and/or MixMatchMusic? Show your support and help us send some of our folks to SXSW next year by voting for our panel topics!

SXSW is a conference, a festival, a networking event, and much much more that has become a premier destination for music professionals around the world. Now in its 24th year, SXSW boasts 80+ stages, and 2,000+ acts. In addition to the amazing music that gets shared and discovered here, the panels give industry thought leaders a forum to introduce brave new ideas and technologies to a hungry and influential audience. MixMatchMusic has found itself in a unique position in this new musical landscape and we would relish the opportunity to share some of our ideas with this crowd.

You can help by voting for our two panel topics below. Simply create an account and then vote (and comment).

Topic #1

Remix: A New Model for Engaging Fans

Today, there are millions of recording artists competing for the attention of the 190 million music fans who demand a deep and personal experience with their favorite artists online. Remixing gained legions of fans when pioneered by NIN and Radiohead. However, many artists have been shut out from engaging fans with remixes by the complexity and expense of the technology. This panel will explore a range of new engagement tools that promise high levels of connection and are accessible and affordable by the DIY musician.

MixMatchMusic’s CFO and Director of A&R Alan Khalfin can discuss how bringing fans directly into the music making process through remix promotions can be highly engaging and convert casual fans into loyal fans. He will also comment on how artists can distribute their stems, in addition to their songs, to increase their revenue. A team of panelists can also engage in a lively discussion around the intersection of music, technology and social media and the tools musicians want and need to collaborate with their fans to bring them into the creative process. The panelists could also discuss how crowd-sourced remix promotions can create a musical conversation between an artist and his fans, and can ultimately affect how music is written and experienced.

Topic #2

How to Develop Artist/Fan Connection

It’s no secret that the channels musicians have traditionally relied upon to get their music discovered, promoted and sold are growing irrelevant and as a result, millions of musicians are increasingly on their own, without labels, record stores or radio to help them. The artist’s challenge is now to convert casual fans into loyal fans, and loyal fans into paying customers. Compounding the challenge is the changed fan: modern music fans are acclimated to the read/write web and the social interaction that comes with it, and are looking for the same experience with music. Now, musicians have to engage and involve casual listeners in order to build deep and lasting connections with them, and to convert them to loyal fans.

MixMatchMusic’s CEO Charles Feinn can discuss how creating deep and lasting relationships with fans is the only way for artists to be successful in Music 2.0. He can also comment on ways to achieve the types of meaningful connections that convert casual fans into paying customers, from engage fans through mobile apps, to bringing fans into the creative process through remixing, and developing direct relationships with fans on Twitter.

The community’s votes account for 30% of the panel selection process and voting continues until September 4th so get your vote on and spread the word! We will be eternally grateful!

A sad day in music today as one of the older trailblazers, Lester “Les Paul” William Polfuss passed away. He was 94. Born only a few short years after the sinking of the Titanic, Paul lived through two World Wars, numerous armed skirmishes, the Depression, three “first” Supreme Court Justices as well as the first African-American president. But in a life that spanned all of those historic events, his contributions to music, the recording industry and the guitar dramatically changed the way it was created, played and recorded on a level unparalleled elsewhere.

Not only was Paul an accomplished musician, but his DIY tendencies and desire to see how things worked lead him to develop technology that shaped the future of the music industry and huge developments within genres. The standard of multitrack recording was pioneered by Paul, and the practices of overdubbing and delays were advanced by him as well. Dissatisfied with the acoustic guitars available, Paul created his own electric guitar. This would go on to be manufactured and sold by Gibson, becoming one of the iconic guitars for rock musicians from multiple generations. Certainly we may not have had the Steve Miller Band were it not for Paul being Miller’s Godfather and giving him his first guitar lesson. I’ve also read that when he broke his arm he asked the doctor to reset it in a permanent guitar playing position. I can neither confirm nor deny that.

When it comes to instrumentation and studio techniques, few people in the recording industry have had as much of an impact as Les Paul. His influence and love for music was so great that he continued playing guitar into the last year of his life, and created continued inspiration for premier guitarists worldwide. In a musical climate where “innovation” comes in the form of auto-tune and artists rarely have more than monetary attachments to the instruments they play, Paul’s truly significant leaps of technology and his subsequent engineering attachment to the instruments he created will remain singular and unique for some time to come.

It appears that the recession has not affected concert sales. Just look at the Pollstar 2009 mid year business analysis. People will always need the escape and the experience of live music, and tough economic times aren’t going to stop them apparently. Last year “the average box-office gross was up 18 percent and the average attendance up 6.3 percent, according to Billboard magazine” writes John Gerome of CBS News, who also notes that many musicians, promoters, and distributors are offering discounts and promotions of various kinds to help fans be able to afford their shows. Live Nation, for example, sometimes offers a four-pack deal (four tickets for the price of three) in essence rewarding you for bringing your friends.

Perhaps this trend is similar in a sense to alcohol sales. People certainly don’t stop drinking during tough economic times, but they might go out less and instead buy liquor at the store or choose cheaper drinks when they do go out. As far as concert tickets go, strapped fans will still go see their favorite bands. They’ll just buy crappier tickets.

Artists (well… some of them) are still making a ton of money from ticket sales. “Just ask Bruce Springsteen, Brit-pop singer Lily Allen, musical comedy duo the Flight of the Conchords, or indie-rock darling Neko Case, all of whom put on sold-out concerts in Boston in the last month,” says Sarah Rodman of the Boston Globe. In the era of steadily declining album sales, concerts are the life support that musicians continue to cling to.

MC Lars, who still makes royalties off of his older stuff on iTunes told us, “…for the newer stuff — the only way to get heard is to be out on the road as much as possible and playing clubs and all that because really with the recession and with kids knowing about bit torrent… the answer is to be on tour if you wanna make money as a musician – OR to write songs for commercials and not have any desire to be an independent musician!” He is a shining example of the DIY artist who is not afraid to try new things and get creative, especially when it comes to interacting with his fans.

This article in the Sydney Morning Herald presents some similar views from down under. “A lot of acts are putting out records to promote their tours,” says Michael Gudinski, the managing director of Frontier Touring Company. “In the old days you used to tour to promote your record.” Back then touring gave you the exposure needed to sell albums, which equaled revenue. Of course now the internet has forced the music industry onto its knees and slashed record sales. It has, however, graciously opened a new window of opportunity for the concert industry. “With the advent of the internet, which I regard as the radio of the 21st century, the potential concert-going audience in this country, in my opinion, has quadrupled,” says veteran concert promoter Michael Chugg.

As music 2.0 continues to evolve and present us with surprises, fans are increasingly becoming participants in the industry, rather than just passive observers and consumers. Take posse.com, for example, which “is turning fans into ticket agents. A music lover receives a commission each time someone clicks on a link or ad on their social networking page to buy a ticket to a show.” Pretty slick. Fans are becoming savvier, hungrier, and their expectations have changed.

One strategy being utilized by artists and promoters as a result is offering fans access to exclusive content, merch, and other VIP type goodies. Elliot Fox, the Director of Marketing & Promotions for JDub Records (a nonprofit record and event production company focused on new Jewish music, building community, and cross-cultural dialogue), explained that they are combating unfavorable conditions by developing new incentives and marketing strategies in order to reach their existing fan base while also building new ones. “The key to keeping fans loyal while also attracting new ones is being able to offer added value and additional content to users. For example, we can offer a free album download with purchase of a t-shirt or a free label sampler for fans who follow us on twitter. We are also in the process of launching a membership model where fans can pay a yearly subscription fee and will automatically receive our next 4 releases both physically and digitally. We feel that providing fans with a steady flow of new content allows them to feel connected to what the artists and label are trying to do.” Word.

The smart artists are figuring out ways to thrive in the current economic climate. Some attempt to make their live music experience accessible to a broader audience by offering tickets at a variety of price points. Others attempt to convert casual fans – who perhaps listen to, purchase, or illegally download their music but don’t go to concerts – into loyal fans. It’s the loyal fans who are most likely to go enjoy and support their favorite musicians even in tough times. It’s the loyal fans who might skip the family vacation to Hawaii this year but still splurge on a road trip to a music festival or decent seats at that U2 concert. Deep artist/fan connections are critical to success in music 2.0 and in most cases it’s what both the fans and the artists want – which is another reason why remix culture is still gaining momentum.

Another group diving headfirst into the artist/fan lovefest era is John Brown’s Body. Their manager, Seth Herman, pointed out numerous ways JBB is actively making themselves available to fans. “Basically we went right back to the grassroots level- replying to every email, sending everyone who buys merch at our online store a thank you, and giving away free tickets to a show if there is room on the guest list.” When touring they even take it a step further and reach out to local bands who are willing to pre-sell tickets and they’ll sometimes work with promoters to give the local band discounted tickets so they can bring out their friends. As we recently discussed, JBB is also working with The Hector Fund to pay for their international tour through “artistfunding.” The opportunities afforded fans through that particular collaboration are absurdly cool.

As we stumble blindly through the foggy terrain of this new musical frontier, trying bold new things and getting intimate with the music and its creators in totally new ways, at least we can count on one thing: Live music is here to stay.

Kero One

When it comes to DIY, it doesn’t get much more do-it-yourself than Bay Area born and bred Kero One. When he dropped his first album, Windmills of the Soul in 2005, he made it completely at home, charged up his credit card, released it on a self-made label, Plug, and became a hit when one of his original 50 copies found its way to Japan. Earlier this year, Kero One released his sophomore album, Early Believers, and I sat down to chat with him about his upbringing, musical history and thoughts on the evolution of the music industry.

AC: So you talk on Early Believers about your parents moving to the Bay Area. Where did they move from and was it a big culture shock for them?

KO: Well they came from Korea originally; and then they came here when I was… zero. Probably in 1978 or so. From what I understand, it’s a little bit different, of course, but you know, they adjusted. What I talk about on “Welcome to the Bay,” it’s just some of the experiences that I witnessed when we were in the South Bay growing up. I talked a little bit about that and also, I guess just a little bit about their adjustment in terms of, they’re used to a whole different lifestyle and obviously like different types of food and things like that. But, yeah, I mean, it was different, but of course they adjusted. And then we grew up in the south bay, and you know, I’ve obviously lived there for pretty much all my life.

AC: Whereabouts down there, San Jose?
KO: San Jose, Los Gatos, Santa Clara
AC: So how has your family played a role in the music that you’ve created?

KO: Well I’d say they made me take classical piano when I was really young, so, in the sense of being forced to take piano lessons, that was a pretty big role because, even though I hated it back then, I’m pretty thankful for it because I use it a lot in my music now. And other than that, not that much because really, they didn’t push me to do music; I mean, they’re kinda traditional Asian parents in the sense that they wanted the more, “education thing is a big deal,” and going to a good college and getting what they understand is a good job, whether it’s an engineer or doctor or something like that. So, they were really pushing for that, and, you know, honestly, when I told them I was rapping, I mean you can guess what their reaction was. Which is understandable, I guess, but now they’re fully supportive.

AC: You talked about learning classical piano. That was maybe the first of many instruments you learned; did you go on to learn any others, or was that the only formal training that you had?
KO: Yeah, that’s the only one I had formal training in, and I did that for 10 years almost. Technically it was probably like five years because the other five, I was kind of not really there. I hated classical music, but, when I was in middle school, I was really into punk, and I got into Primus and a little bit of rock like Red Hot Chili Peppers, and we all know, Flea and Les Claypool, ridiculous bassists. That inspired me to pick up the bass, and I started messing with the bass a little bit. So, other than that, it’s just bass, piano and I play a little bit of percussion; so those are my three things right now.

AC: Do you spin?
KO: Yeah, and I DJ as well. I got into scratching quite a bit when I was in college, so I was into the whole turntables thing, try to beat juggle, flares. I DJ out mostly in the city, one off events and sometimes I go out and DJ internationally, but, yeah, right now I’m just trying to focus on the live stuff.

AC: Do you play your instruments live in concerts?
KO: Well, actually for the last show, what we did was I incorporated a little bit of live keyboard and a little bit of live drumming, but something that I’ve always wanted to do was play some instruments and rap at the same time ’cause I’ve never seen anybody really do that. I’ve seen people sing, but not really rap, so that’s what I’m gonna be doing on my new show; just a little bit of that, and incorporate, I got a guitarist, I got a singer, and so we’re definitely bringing in like the live element to the live show, ’cause a lot of the stuff on my album is actually played out, it’s not samples, so it seems pretty natural to have live instruments.

AC: Out of all those instruments that you’re playing, which one are you enjoying playing the most?
KO: I’d say probably the keys. I’m not stellar player in any of the instruments, but when I do play the keys, it’s definitely fun when you can come up with a nice chord progression or some good solos, I’d say the keyboard.

AC: So you were talking about Primus, Red Hot Chili Peppers; what are some of your other musical influences and what are you listening to now?
KO: Man, I pretty much am influenced by everything from Mobb Deep in the early 90’s to John Mayer to Daft Punk, I listen to it all. Probably the only thing I don’t really get influenced by is country — I mean everybody says that, right — country or like folk, or something, or obviously classical music. But yeah, I listen to pretty much everything; like I grew up listening to really being into the early 90’s hip hop stuff, classic stuff.

AC: What was the first rap album you really got into?
KO: I’d say probably LL Cool J, Radio — I think that was the one. And then the BDP (Boogie Down Productions) stuff. So, yeah, BDP By All Means Necessary. And then for me, you know, I listened to that era when that came out, and then I went back to study other artists. Then, you know, from there, just expanded to Rare Groove and Soul and other related genres.

AC: So your initial album kind of made its break in Japan.
KO: Yeah.
AC: I’ve followed a number of hip-hop groups from Japan, but what would you say about the scene and the culture over there in the industry in terms of hip-hop?
KO: Well, definitely the culture plays a large roll, in the scene of hip hop over there because their culture, as you probably know, is very intense in terms of studying and breaking things down. I mean, when I was watching TV, and they were talking about, Indian Curry, I mean I was just watching from the hotel room and they were Japanese chefs, climbing barefoot on trees in India with the Indian guys there, to show this is how they do it, this is where they get it from, this is what it looks like and what it smells like, and they’re like breaking it down. I mean, that whole mentality is just kind of standard to me out there. They do that with hip-hop, and out there I learned more about music than I ever have in that short amount of time, ‘cause they know hella information, I mean, all the good music somehow just gets funneled over there and they have it at stores, the people who sell music are super knowledgeable. I basically discovered all these artists from the UK, from Europe, in other parts of Asia, even the States, out in Japan, you know. It’s really weird. I think because of that, they’re able to push the envelope a little bit. It’s definitely on another level out there, I think, in some ways.

AC: Did you pick up any Japanese hip-hop that you really liked while you were back there?
KO: DJ Mitsu is part of a group and I picked up their albums. I picked up a few instrumental albums out there. When I go out there, usually the labels will give me like a stack of CDs, so there are a couple CDs in there that are pretty dope. But yeah, definitely. I’m always getting new music while I’m out there.

AC: What’s been the most enjoyable part of the transition from web design and tech that you were doing to producing your own albums?
KO: Not having to listen to the boring meetings. I used to fall asleep in those meetings, you know. A lot of times I’d be at work, I’d be thinking about labels, music, I’d be stepping out very frequently to do maybe a press interview in the UK or whatever and since it’s international, you can’t miss that call, and so, you know, I gotta get up and go out and people probably started wondering why I was leaving so frequently. I still actually do a lot of web design now for my own stuff, so I haven’t strayed away from that too much. I hope to soon, but I don’t really miss the technical stuff that I need to learn, you know, just for that company; so now I can do whatever I need to do fix the public website or update the Kero One website or things like that.

AC: Have you retained or used anything from the job in actually getting your music heard?

KO: Well for sure in the sense those skills, I can apply to making websites, making them a little more functional, adding a little bit of interaction with it, like for example a mailing list, or something like that, whereas, you know, if I didn’t learn all that stuff, I’d probably be just a blogger or something, which is fine, but, for me, I’ve been able to take advantage of that. For example, I’ve pretty much configured our whole webstore on the website and now people can purchase things online. So, yeah, in that sense, that’s helped me a lot; so I definitely can’t ignore that.

AC: One of the lines I like from the new album is “wearing so many hats that your hair is concave.” So what’s been the hardest part of the scenario and trying to do it all for your label from rapping and producing your own music to being the label head?
KO: It’s definitely prioritizing your time. I had a PDA phone, which really kept me in check, but prioritizing time and figuring out where things need to be is probably the biggest challenge and now I have employees. Being able to stay on top and make sure that they’re being managed and they’re getting tasks done definitely takes up a lot of energy, but I think it’s definitely part of the grind, It’s a learning experience; I’ve learned a lot about the business. I’d say that another challenge is that I don’t want to take the business side to kind of supersede the creative aspects of my life, like the things I’m trying to do musically, I don’t want them to get pushed out of the picture, so lately with employees and things like that, it’s been helping out a lot, but there’s nothing without challenges.

AC: This whole album is full of really jazzy hip-hop, a lot of jazz influence on it; what was the approach that you used to make these songs and was your intent to go that heavy with the jazz? Was that something you wanted to do?

KO: You know, it’s really weird, I always get that comparison out and get told that it’s very jazzy and I guess I’m not ignorant to that fact, but I don’t actually say I’m gonna try to make it like this. I just usually try to go with what I like and just want to make something I enjoy. For some of the tracks, like “Love and Happiness,” which was produced by King Most, I mean, he just played me a bunch of beats, but when he played that one, that jumped out. I was like “Dude, that beat is ridiculous. I’m gonna have to add that.” So, you know, it wasn’t really a conscious thing to make it like that, but the other approach for this album was that, as opposed to Windmills, I wanted to give a little more diversity in terms of the tempos, the arrangements, I’m bringing in different Soul artists and features and just make it a little bit, I guess, less heavy. Because the first album, Windmills, was very personal and there were a lot of things on there that were very sexual. I mean this one, even though I put that in there, I also wanted to balance it out with something that’s a little fun, tracks like “Keep Pushin’” where you could have people dancing to it. I really wanted to keep it diverse.

AC: Your music sounds pretty complete in terms of the concepts that you have behind it, the musical ideas that you’re trying to bring into it. What are your thoughts, then, on the burgeoning remix and mash-up cultures?

KO: I’m really down with it, actually. As a DJ, I love finding music to remix or mash-up anything because I like to play songs that, even though they may be popular, ’cause they get people dancing, and they get people into the groove, it’s always nice to throw a curve ball at them, you know. I’m all about remixing stuff. I’ve done a few myself; I did a remix of Common’s “The Light.” DJ King Most, whom I worked with, we released some of his remixes for the DJs, and so it’s something that I’m definitely into playing. I don’t do that many in terms of, you know, taking well-known a cappellas and remixing them, but I do like projects here and there that are commissioned, I did a Talib Kweli remix and I’m working on a few Asian artists right now that I’m remixing, this group called Epik High.

AC: What do you think of making your stems available?
KO: Oh, for other people to remix.
Well, I have had a few a cappellas out there for people to remix, and I’ve gotten a few back. As far as stems, as in actual parts, not really, I’m not too into that. I feel like a remix should be like a regenerated or a totally new look at the beat and the project and the vocals. Otherwise, there’s no point to me.
AC: Between the record labels, the MP3s, the file sharing, where do you see music now, and where do you see there being a nice meeting place between consumer happiness and artist revenue?
KO: It always makes me a little, um…I don’t know, it’s like a mix between a chuckle and frustration when I hear people saying, on the blogs or whatnot, that “artists need the exposure and that’s why we’re gonna file share.” I mean, come on, that’s like complete BS. Honestly, for me, I’ll admit, I have downloaded illegally and when I have done that in the past, it’s just ‘cause you want the music, you know, it’s not any of the other stuff. I mean, it’s something that’s gonna be free and it’s gonna be in front of your face and most of the time, people will just take it. So, I don’t think it’s the people’s fault out here who want music; it’s the fault of the government and the regulations that aren’t being pushed appropriately on the internet.
For example, when we released Dream Talk, The Tones album, that released and it was at the top 50 of iTunes downloading, and then, a couple days later, all these blogs started showing up with the illegal download links for the albums and, in the dashboard you could see that the sales just plummeted. Right on that day, they just plummeted. And these kids, they’re hungry, and they’ve got mouths to feed, they’re trying to do music full time, so it really makes it tough. Of course we’ve got a team working on it on the security side, but it would definitely help, if and when these government regulations come into place that it kinda polices the activity out there, because, contrary to popular belief, artists do really get hurt by that. Maybe not a Kanye West, for example, but independent artists definitely don’t get to see that kind of return.
I think in that sense, I guess I could see the other side of the argument that, yeah, people have discovered a lot of great music through that as well. When I went to tour in Poland, I had people come up to me, and was like, “yeah, I’m sorry, we all downloaded your music illegally, but there’s no other way we can get it, we’re poor,” and all this stuff. Whether it’s true or not, they were there at the show and I see both sides. So, I think, back when albums were being sold for 10 dollars at Warehouse or whatever and there was nowhere else you could find that, I think a lot of people found out about those albums. I mean, when Nas or whatever came out in the 90’s to Berkeley, that show was packed, and it’s not because people got free music necessarily, it was just ‘cause they heard it on the radio and then they went and supported it and they got real’ into it, ‘cause really there was no real file sharing then. So, I think even with clamping down on illegal file sharing, things can still be really good, but we’ll have to see. We’ll have to see what happens; I really can’t predict it.
AC: Have you seen more of your revenues and artists from iTunes sales or from hardcopy CDs and shows
KO: I would say, probably from iTunes sales. CD sales have just dropped, like, pretty crazy. Though we still get a lot, you know, but it’s a lot slower.
AC: Have you started working on new songs already?
KO: No, I haven’t. I mean, I’ve been working on some remix projects, like I said, with the Korean group Epik High. I’m also mustering up some ideas on another project, but I haven’t actually started working on anything. I always like to release something and kinda reset and kinda figure out what I wanna do.
AC: So what’s up next for the Plug Label?
KO: Well obviously this album we’re gonna promote. We’re still promoting the Dream Talk album. I got a project comin’ up with this guy Green Tea, he does kinda like hip hop, kinda house beats. And then we got DJ King Most, who’s releasing a hip hop album with a bunch of guests. We’re gonna try to keep busy and really take it to that level of being an established label.
AC: How’d you connect with The Tones?
KO: Well The Tones, I actually heard about them on Myspace a while ago. I forget exactly how it happened, but we started chatting and then they had a couple tracks together, but not a full album. I liked what I heard; I mean, I knew that they had something special in terms of their sound, and so after a few chats, I signed ‘em and they basically simply got a full album together and then we went from there. And then we released that album in December!
AC: Yeah, that album’s good. It’s really good.
KO: Thanks. Yeah, I’m sure they’ll appreciate that. It’s interesting because I knew that, it’s definitely a good sound, I just didn’t know how impactful it would be in the hip hop community, ‘cause I guess a lot of people in the hip hop community really wanted to hear something like that. So, yeah, it’s pretty cool that they’ve been received that way.
AC: I think as pop hip hop goes further south in terms of quality, I think there’s gonna be even more of a backlash going the other way to find quality hip hop. Do you want Plug Label to be your side thing, and you’re doing music? Or do you envision Plug Label getting to a place where it’s up there with Stones Throw or Rhymesayers, or do you want to keep it small?
KO: I’d say I want to keep it small in the sense that everything that we put out is still hand-picked and not just to throw it out there, you know, to have a full release schedule. If we have to wait six months for a good album, then we’ll wait six months before we release it. I just feel like the more and more that we add to a catalogue and the more and more I compromise the vision of it musically, I feel like that’s where I’m gonna start losing interest in the label, and others will probably start losing interest because really, the problem I see right now is there’s too much information out there, you know, too much music, and I really wanna be able to kinda like consolidate that to people. That’s my vision, you know. So we’ll see what happens.

July’s iPod update was an extremely diverse one, not just for the artists, but for the songs themselves. Taking a new tact, I made July an all mash-up month, checking out some of the ways in which DJs have started taking on the mix and match genre full-throttle. While Danger Mouse helped pioneer it with the Grey Album and AmpLive took it another step with his remixes of Radiohead’s In Rainbows, the mash-up culture is far past those now. But while there is much to be said for the style of Girl Talk where there are more layers than you can reasonably dissect in a listening, I find the club mash-ups utilizing 2 to 3 songs to be a most effective use of the genre. The best news? As all of these are off the grid, they’re all available for download, so follow the links to check the music out for yourself. July’s iPod update included 118 songs.

50 Cent vs. The 50s, DJ Doc Rok: Currently residing in Washington, D.C., DJ Doc Rok’s (djdocrok@gmail.com) work is among the strongest of all artists I heard this month. What’s more is that while he does have a collection of odd mash-ups and various artists, he also sets out to create complete albums of one to two artists. On this album, Rok focuses on all lyrics from 50 Cent songs and combines them with Golden Oldie hits from the R&B and Pop genres. The result? 50 Cent party songs with a touch of flair, moved out of the straight club motif that dominates so many of his songs and saturated with style and soul. Using songs like Dusty Springfield’s “Son of a Preacher Man,” The Four Seasons’ “Big Girls Don’t Cry,” and Booker T. and the MG’s “Green Onions,” Rok flips the 50 acapellas on their head with fantastic result. Definitely my favorite download of the month. Don’t Sleep On: “Rowdy Rowdy/It’s My Party (And I’ll Cry If I Want To),” “Like My Style/One Fine Day,” and “The Good Die Young/Little Susie.”

Best of 2007 (Mash-Up Your Bootz), Various Artists: If you’re looking for a comprehensive blog that provides a vast cross-section of the variety of mash-ups available online, check out Mash-up Your Bootz. They provide comprehensive year-end wrap-up mixes, links to other mash-up sites, and breaking news in the genre. I downloaded both their 2007 and 2008 Best of Mixes and wasn’t disappointed with either. Beck takes on Green Day, AC/DC meets 50 Cent and the Scissor Sisters, Peggy Lee and Iggy Pop collide and Peter Bjorn and John find their whistle backing both Bloc Party and Amy Winehouse. Some of the mashers on this mix include DJ Peaking, DJ Le Clown, CheekyBoy, DJ Lobsterdust, and Party Ben. Perhaps the most pleasant track is by Norwegian Recycling who put together a very simple acoustic mash-up called “How Six Songs Collide” featuring Jason Mraz, Howie Day, Five For Fighting, Angela Ammons, Boyzone, and 3 Doors Down. This one is mirrored nicely with the eerie and melancholy mash of Placebo, Kate Bush and the Pet Shop Boys called, “Love Comes Running Up That Hill Quickly.” Don’t Sleep On: “Young Folks Rehab” by DJ Topcat (Amy Winehouse’s v. Peter Bjorn and John), “Love Comes Running Up That Hill Quickly” by DJ Magnet (Pet Shop Boys v. Placebo v. Kate Bush) and “Break Through Love” by DJ Zebra (The Doors v. Led Zeppelin)

Best of 2008 (Mash-Up Your Bootz), Various Artists: The 2008 mix picks up where 2007 left off and offers an impressive array of very different artists finding their songs blended with people of opposite genres. The album kicks off with Bryan Adams going head to head with Metallica, James Brown duels The Offspring, and Rage Against the Machine gets thrown together with AC/DC, Joan Jett, Queen and Red Hot Chili Peppers. To say that these songs stretch the concept of mashable genres is an understatement. Contributors include Wax Audio, MadMixMustang, DJ Morgoth and Divide and Kreate. Best track has to come when DJ Schmolli brings the haunting guitar lilt of Chris Isaak’s “Wicked Game” and fills it with a slowed down Billy Idol singing “White Wedding.” The result is astounding. Don’t Sleep On: “Wicked Wedding” by DJ Schmolli (Chris Isaak v. Billy Idol v. HIM) “The Low Anthem” by Bass 211 (Flo Rida v. Pitbull) and “Dance Dreams” by Divide and Kreate (Eurythmics v. Lady Gaga)

Michael Jackson: With the unfortunate and untimely death of Michael Jackson last month, I decided to go back and flesh out my Jackson music collection. Sure, I had Thriller and parts of Bad, but I was still missing a large chunk of music from the Jackson 5 days as well as the tracks he did as part of The Jacksons. In all of these outings, Michael’s voice is distinct and easy to pick out, and his energy serves to carry most of the songs. So if you’re looking for some tracks you may not have heard, Don’t Sleep On: “Too Late to Change the Time,” (Jackson 5) “State of Shock,” (The Jacksons) “Another Part of Me” (Michael Jackson)

Jay-Z vs. Led Zeppelin, DJ Doc Rok: By taking the lyrics from Jay-Z’s soundtrack to American Gangster and mashing them with various Led Zeppelin songs, Doc Rok succeeds again in creating an album that can stand on its own. Darker and more subdued than the 50 Cent album, this outing utilizes Zeppelin songs like “Immigrant,” “No Quarter,” “Tangerine,” and “Kashmir.” The result is a new way to think of Jay-Z, liberated from much of the standard hip-hop and rap tracks he’s been tied to, the guitars and gritty classic Rock from Led Zeppelin provide a new canvas which comes off fresh. Don’t Sleep On: “Success/Moby Dick,” “Party Life/I’m Gonna Leave You,” “No Hook/Tangerine”

Party Vol. 25 (Mash-Up Your Bootz), Various Artists: Where the 2007 and 2008 span every genre, what you find most on this party album are mashes primarily utilizing hip-hop, dance and rock. DJ Lobsterdust brings The Police and Coldplay together while DJ BC brings together George Harrison, L’il Kim and Notorious B.I.G. The nice part of this album is that all of it is danceable and will appeal to most anyone on the dance floor. When Gloria Gaynor and Fall Out Boy meet each other at the hands of Mighty Mike, just about anything is possible. Don’t Sleep On: “Get the Day ‘n’Night Started” by Pheugoo (Pink v. Kid Cudi), “Beautiful Journey” by DJ MashUP (Journey v. Akon) and “Lady and the Usher” by Divide and Kreate (Usher v. Ladyhawke)

Over the last several months, MixMatchMusic has been busy working on a short film for South By Southwest, titled “Remix…A New Way to Engage Fans”. Well, we’re happy to announce that the film is now live and you are invited to see how artists and fans are turning to remixing to connect and interact with fans in a music 2.0 world.

Emerging hip hop artists, the Bayliens, are poster children for a music 2.0 world that is nearly as much about connecting with fans off stage as it is entertaining them onstage.  This film shows how they’re connecting with fans at an almost molecular level, by offering them the musical building blocks of their songs and encouraging them to remix them into new sounds and new songs. The film also features insights from AmpLive (of Zion I) and Trifonic on the power of artist-fan collaboration.

Musicians are navigating a dramatically changed music business landscape.  More than ever, they have to engage and involve casual listeners in order to build deep and lasting relationships with them.  The group behind the video, MixMatchMusic (aka, the dudes writing this post), is focused on helping musicians make those connections and deepening the bonds that link them with fans.

If you haven’t heard yet, there is a phenomenon happening right now that warrants your immediate attention. King of the West Coast, Snoop Dogg, has teamed up with San Diego’s genre-bending Slightly Stoopid for a mind blowing collaboration. They’ve thrown modern reggae great (and son of Bob), Stephen Marley, and seedy pop newcomer, Mickey Avalon, into the mix too. What we have here folks is the Blazed and Confused Tour (don’t forget to become a fan on Facebook). Here’s a little sneak peek:

Rick Florino of Artist Direct notes that at the Irvine show “Snoop closed off a fantastic set chanting ‘Peace and Love.’ There was something very ‘Woodstock’ about the whole set… There’s no segregation at a Snoop Dogg show and he delivers something for everybody. What’s more rock n’ roll than that?”

Each of these artists/groups has a unique sound and message, and yet their vibe and mindset is one and the same. Bob probably summed it up best with “One Love.”

As part of the tour, Slightly Stoopid is hosting a remix contest for their song 2AM, a summertime reggae classic that will sooth your soul! Slightly Stoopid has loaded the stems to 2AM into MixMatchMusic’s Remix Wizard, and now all you pro and amateur musicians (and even nonmusicians) have the chance to create your own kickass remix of the song and share it with the world.

You have two options for making a remix: you can download the stems for free and use any software you want; or you can click on the MixMaker button on the widget to make a remix in MixMatchMusic’s simple online music editor. If you’ve never experienced remixing before, or just want to see how 2AM was made, check out the MixMaker! Either way, make sure to you upload your remix to the widget so that others can listen to, vote on, and share it. The contest starts July 15, 2009 at 2:00 AM and ends August 21, 2009.

There will be ONE winner picked by Slightly Stoopid, who will receive:

A set of the new Slightly Stoopid branded headphones, an autographed Stoopid poster, 2 tickets to the next Slightly Stoopid concert in your area, a limited edition Slightly Stoopid branded glass pipe, CDs of Slightly Stoopid’s entire discography & Chronichitis vinyl, and the Slightly Stoopid Live in San Diego DVD! Also – the winning remix might be posted for streaming on Slightly Stoopid’s Website, MySpace, thesixtyone, and Facebook (subject to Slightly Stoopid’s approval). Not bad, eh?

To get your creative juices flowing, here’s the official video for 2 a.m. Roll yourself a blunt and have a look and a listen. Then, enter the Blazed and Confused at 2AM Remix Contest here.

SanFran MusicTech Summit 1: Rockstars, Lawyers, Nerds and Me
SanFran MusicTech Summit 2: Guestlist Wish, Artist Activism, and Label Survival
SanFran MusicTech Summit 3: Albums Die, Social Media Kicks Ass, and Songs Find a Home

Now, on to summit #4.

In the second review above, I put in a request for some sort of attendee list (using the Web 2.0 Expo’s use of crowdvine as an example), thinking that this would facilitate more effective networking. Let’s be honest, tech people aren’t always the best networkers. Well thank you Brian for listening to the suggestion! This event saw the introduction of SFMT’s very own crowdvine page! I’m curious to know whether people found it useful?

Speaking of suggestions, musician Chris Stroffolino (also featured in the video below) thinks there is room for a panel on the “fostering of connections between the already established live music scenes in the Bay Area, and the major labels and web-distribution networks.” Perhaps we’ll see this topic discussed further in the future.

Like a nice red wine, this conference is clearly getting better with age. With its shiny new reputation and rapt audience, SFMT attracts a pleasing blend of big names in the music industry, Silicon Valley thought leaders, social media celebrities, and starving musicians. Although, as attendee Kwan Booth points out, the conference overall was noticeably “light skinned and testosterone heavy.” I’m not sure how the demographic breakdown compared to past SFMTs, but it is certainly a good point.

Let’s make a collective effort to change that, shall we? All you minority and female music tech geeks out there: get on it! Next time we want to see you there.

Early in the day, the tone was set when musician Matt Morris, the first artist off of Justin Timberlake’s label, Tennman Records, asked the audience to stop twittering, put down their iPhones and close their laptops. And then proceeded to lead an audience singalong, which he promised to record and post on YouTube. Ah, music 2.0… Here it is:

That whole episode got me thinking about how busy we all are engaging with each other through technology all the time. So much so that we forget to engage with each other in real life. There we were, a room full of music fanatics watching a powerful new voice perform, and some of us were so busy writing witty tweets about the performance or sharing interesting facts about the performer, that we had to be reminded by the performer himself to pay attention!

Matt Morris also got some good face time in the NBC coverage of the event.

Whereas last time I focused on capturing the look and feel of the event through pictures, this time I went with video. All of the following footage was captured using one of those ghetto-fabulous flip minos and edited in iMovie.

Intead of reviewing topics covered, panelist cat fights, and the like, I want to provide a more haphazard organic insight into the experience. Here are a handful of tweets (search #sfmusictech on Twitter Search for more) that tell the story.

donald: Just posted my favorite takeaways from #sfmusictech http://is.gd/BxPF 8:41 PM May 19th

MattMorris: My SanFran trip: met some cool techies (#sfmusictech), ate some good chowder, & had a Twitter name-change (@MattMorrisFeed to @MattMorris). 7:44 AM May 20th

SoulMajestic: Attended #sfmusictech conference in San Francisco. Digital is ruling. Must dig our music into the social networks. 10:46 AM May 20th

hansveld: If you’re in a band or in artist management you really need to check out bandize.com and bandmetrics.com. Very useful services. #sfmusictech 10:24 PM May 18th

KISSmyBLAKarts: Is this why Spears signed to Pepsi @Boothism tip:coke does background checks on every member of every band before they license. #sfmusictech 5:45 PM May 18th

denverdan4life: The gloves are coming out. I hope we see a fist fight over the fact that labels slept at the wheel for almost 10 yrs. #sfmusictech 5:16 PM May 18th

Boothism: true story: preparation H wanted to license “Ring of Fire” for commercial. Fail. #sfmusictech 5:11 PM May 18th

SocialSound1982: “The music industry is the world’s biggest law firm” – Jim Griffin #sfmusictech 4:59 PM May 18th

Thanks to Brian and Shoshana for another great event and I look forward to seeing you all at the next one!

For Fans

For Artists

It’s my favorite way to stream music. In my opinion, way better than Pandora. Groovesharkers can browse through their library of music, add music they find to their streaming “queue” or “auto play” letting Grooveshark pick their upcoming music based on their choices. The best part is that streamers can “favorite” the music they like and come back to it another time or add it to a play-list. Another great feature is the ability to share music links through various social networks like twitter. Way cool. Beyond streaming, Grooveshark hosts an artist section that focuses on “do it yourself” (DIY) and emerging bands getting their music played. Here’s how…

They Create and Convert Fanbases

Grooveshark employs a very simple song placement technology to ensure that you’re heard by those who already dig your style of sound. Promoted tracks– whether country, jazz or rock– will only be played after the artists within the genres you select.

Ads as Calls to Action

Almost every musician throughout the world performs at concerts, sells merchandise, and needs potential fans to actually listen to their music. With Grooveshark, not only are standalone ad campaigns sold at a discount to artists, but they’re provided free of charge alongside any ‘Get New Fans’ campaigns.

Goodies Galore

Embed your tunes with a widget on every website you love. Get short URL links directly to your songs. Watch your buzz grow with the easiest (and newest) way to keep your digital life grooving. Tinysong, Twisten.FM, Widgets, and Facebook ShareSong allow you to do all sorts of cool things–at no cost. They’ll take care of everything.

Give it a whirl, test it out, let Grooveshark know what you think!! In the mean time, I’d like to share one of my play-lists with you.

The finalists , who hail from 30 countries, six continents, and play 26 different instruments, played last night at Carnegie Hall. See Act One below:

There is now a new answer to the question “how do you get to Carnegie Hall?” Upload, upload, upload. Despite the short amount of rehearsal time, the group was was placed among the 10 most inspiring orchestras and praised for “for democratising classical music on a global scale, making it truly all-inclusive.”

Have you heard the driving electronic sounds of the band Delphic? If not, add them to your list of music to check out. Their band name was enough to pique my interest. Why the Greek reference? Why ambiguous or obscure? Why did they pick it…?

Then you hear their music and the intrigue grows. At times paying homage to fellow countrymen and musical pioneers, New Order, or other greats, and at times creating an experience completely their own, Delphic is poised to make some serious noise in the musical landscape of 2009. So, it seems, say the oracles of the dancefloor.

Also, the “forward-thinking, indie-rave” sound of the “best new band in Manchester” is now yours to remix! Yep, they’ve got a Remix Wizard for you to play with, so get to it. Check out the remixes done so far and/or make your own here!

The young band is releasing their single “Counterpoint” on Belgium’s R&S label. Though fairly new to the scene, they are already opening for the likes of Bloc Party and The Streets. Not bad for a band still in their musical diapers. Check out the “Counterpoint” video, which was produced by Ewan Pearson, who will be working with the Delphic boys on their debut album.

Capitalizing on the ubiquity of social networks, Cartfly is enabling retailers “… to establish a point of presence right inside profile pages and other sites” according to cofounder Joshua Manley. Even if you’ve got your songs on iTunes, CD Baby and wherever else, one more potential revenue stream can’t hurt, right? Slap it on your Facebook and show the world your goods! Oh, and the widget uses Flex, which gets the RIA (Rich Internet Applications) junkies all excited. Want to know more? Follow them on Twitter.

March has brought me some fantastic new cuts, and several blasts from the past that I hadn’t heard before, making them new to me. I will say that I downloaded The Jackson’s “Blame it On the Boogie” which is simply sublime. But through 56 new songs, including an album that won’t be released until next month, March was good for music. I’m almost sad to see it end, until I remember that once it does, I get to start all over again with April…

Dessa, False Hopes: Released in 2005, False Hopes is a 5 song EP from Dessa (@dessadarling) of Doomtree. Why write about a 2005 release as “new music?” Well, have you given this EP a listen yet? While short in length, this EP is huge on style and poignant, introspective lyrics against musically gripping backdrops. “551″ looks at an addictive and damaging relationship over a dark beat laced with piano. Throughout the album, Dessa mixes her vocal talent with her rapping and slam poetry background to great effect. “Mineshaft” utilizes an urgent string backing and heavy drum beat to accentuate the sense of loss in the song. Many of the lyrics focus on a central theme of personal loss (”The list of things I used to be is longer than the list of things I am,” “I lost an octave to the Camel Lights”) and they’re delivered with such intensity that her personal experiences become visceral for the listener. “Kites” delivers an eerie underwater feeling that brings to mind the melancholy feeling I first heard on listening to Atmosphere’s “God’s Bathroom Floor.” Through just 5 solo songs and her contributions to Doomtree, Dessa rivals P.O.S. in her passion and creativity on this album, and one can only hope that her poetry, lyrics and music gain the public recognition that they deserve. Don’t Sleep On: “Mineshaft,” “551,” “Kites.”

Kero One, Early Believers: This man does it all out of his self-run label, Plug, in the Bay Area. DIY in every sense of the word, Kero One plays his own instruments, makes his own beats, writes his own lyrics, produces and mixes his own songs and then created a label to self-distribute. For the full review of his sophomore release, Early Believers, set to drop April 7th, click here. Don’t Sleep On: “This Life Ain’t Mine,” “Welcome to the Bay,” and “On and On.”

N.A.S.A., The Spirit of Apollo: The idea behind this collaboration album is bringing North American hip-hop together with South American beats and influences to create a cultural mash-up album with global appeal. And for the most part, the odd pairings of guest artists along with the sample heavy and culturally defiant music does the trick. As hip-hop laced with world music continues to gain traction on radio airwaves and popularity among listeners, it comes as no surprise that artists with a broad fan base such as Kanye West, Tom Waits and George Clinton were willing to contribute. Other international artists got in on the act too, with Santogold, Lykke Li and Seu Jorge joining the fray.

If there’s one drawback to this album, it’s that some of the songs come off as too packaged, relying more on the featured names than on the music itself. “Spacious Thoughts” featuring Tom Waits and Kool Keith is interesting, but forces too much of a juxtaposition between the rapper and the singer, leaving the transition from verse to chorus feeling fractured. If you’re into heavy, crunchy dance tracks, “Whachadoin?” feat. Spank Rock, M.I.A., Santogold and Nick Zinner is dense with bass and electronic flourishes, but a bit repetitive. Of course, where the songs are on, they’re on. DJ Qbert and Del tha Funkee Homosapien rip “Samba Soul,” the beat perfectly capturing Del’s sense of pace and timing, and “Gifted,” the track with Kanye, Lykke Li and Santogold has almost instant club appeal with grimy effects offset by a starry and airy video game tone sequence in the background. For the most part, N.A.S.A. plays like a who’s who of guest stars where the sum total of the music falls short of the artists involved, but on a handful of songs, the desire for North to meet South in interesting ways comes through. Don’t Sleep On: “Samba Soul” featuring Del Tha Funkee Homosapien and DJ Qbert, “Money” featuring David Byrne, Chuck D, Ras Congo, Seu Jorge and Z-Trip, and “Gifted” featuring Kanye West, Lykke Li and Santogold.

The Pains of Being Pure At Heart, The Pains of Being Pure At Heart: After a 2007 EP release, PoBP@H released this debut self-titled effort in February on Slumberland records. The initial offering finds the group exploring the various genres of Indie Rock, Shoegaze and Sugar Punk and the spaces between them. The band utilizes a variety of sounds to evoke different moods, not shying away from using both electric and acoustic guitars depending on the song, and descending into lo-fi static where necessary. The lyrics seem less important to the songs than the contribution the singing melody lends the tunes and the drums remain consistent throughout to lend the backbone to a group that alternates between sulking and exulting. In some places, 80’s influences sneak through, “The Tenure Itch” being a song that could have easily made the Donnie Darko soundtrack. But whether they’re soft or hard, The Pains of Being Pure at Heart remain effusive in their energy, bringing a sense of urgency and drive to every song that keeps the album moving. Don’t Sleep On: “Stay Alive,” “This Love is F*****g Right!” and “A Teenager in Love.”

Indiefeed Hip-Hop: Dirt E. Dutch from Indiefeed (@dutchman) brought out some more stellar cuts this month, but one of my favorite, Dutch’s “Welcome to the World Kayla Vivien!” is a smooth and mellow instrumental affair to celebrate the birth of his daughter that was actually put out in February. Finale’s Black Milk remixed track “One Man Show” moves with low-end bass touches and high-end electronic agility while B Real’s “Don’t You Dare Laugh” uses an interesting interpolation of Suzanne Vega’s “Tom’s Diner.” All in all, a positive showing this month.

The next few months are looking solid for new music releases, so keep it tuned.

When Kero One released his debut album Windmills of the Soul, he had no backing and no name recognition to speak of. The album’s success came about through his persistent work to get it heard which resulted in it becoming a hit in Japan first, a humorous twist for a Korean DIY hip-hopper born and raised in the San Francisco Bay Area. Through this success, he has managed to remain independent, starting Plug Label, releasing The Tones’ debut album and doing end-to-end production on his sophomore release Early Believers.

It is this spirit and energy that infuses Early Believers with an unfettered sense of optimism and musical joy. From the instrumentation to the lyrics, the album is unmistakably a complete work by a focused artist. The music is consistent and full, utilizing both hip-hop and jazz influences, while the lyrics are often personal and focused on a specific story. The marriage between Kero’s thoughts and his beats serve to offer an album that never feels forced or out of place. Unlike some current hip-hop albums that feel like the goal is musical shock for shock’s sake, Kero One never tries to do too much or move too far out of his range. On the opening track “Welcome to the Bay,” Kero raps about the pros and cons of the area where he grew up over an easy synth and fresh beat produced by King Most. Jacqueline Marie provides the chorus about the mentality of never leaving the bay for a piece that is heartfelt and unmistakably San Francisco.

“When the Sunshine Comes” is an easy, sunny day melody. The pace and mood of this song seem to be the best fit for Kero’s vocals, letting him sit back and rap without tempo pressure. The smooth delivery of tongue twisters is unhurried enough that it doesn’t make the listener feel stressed that the words won’t come out. This track gives way to “Keep Pushin’,” a much more up-tempo track that lyrically resembles something Kanye might have produced, with a little more pop to it. The fusion of jazz and a glitchy stop-and-go guitar/handclap back and forth brought to mind edIT’s “Crunk de Gaulle” off Certified Air Raid material. On his “I’m better off single” track, “Let’s Just Be Friends,” Kero brings a sing-along melody to the chorus (performed by Tuomo) and manages to make his desire to stay single sound happy and upbeat. The album then moves into Latin Jazz influences on “Bossa Soundcheck,” where Kero displays the keyboard and piano education he was brought up on. Sounding like it would be best heard in a dimly lit lounge atmosphere, Kero manages to make a hip-hop song that would fool non-hip-hop fans into listening and enjoying.

A solid feature of Kero One’s music is that he doesn’t sacrifice his choruses like most contemporary hip-hop and rap acts have done to get radio air-play. There’s no, “she made us drinks to drink, we drunk them, got drunk” fillers here. The choruses are integral parts of the overall whole, demonstrated again through Tuomo’s easy delivery on “Love and Happiness,” bringing to mind some of the better work done with Codany Holiday on Zion I’s latest album. This is the second King Most produced track on the album, and together they make the only two not produced by Kero himself. In “Stay on the Grind” Kero raps about the difficulties and rewards of choosing the DIY route, and just when you thought the whole album would be hip-hop, “A Song for Sabrina” shows off the instrumental prowess in a hip-hop/jazz/funk fusion track that includes Vince Czekus on bass and electric guitar.

In the most poignant and introspective track on the album, “This Life Ain’t Mine,” Kero uses an easy and straight-forward hip-hop track to back an autobiographical story about his life and entry into the hip-hop career, looking at his choices in friends and religion. The easy keys sprinkle melodies over “I Never Thought That We” as Kero looks at his unlikely and unpredictable path from his parents’ wishes to his chosen career. And, without missing a step, the album ends on a Kero One exclusive instrumental, “On and On,” which lets the album fade out in a jazzy way, reminding the listener of the progression of the album as a whole, and that it wasn’t just rap or hip-hop you were listening to.

An easy listen, Kero One’s Early Believers takes chill to the next level at every step. Gone from this album are the stereotypes that you need raps about money and women, pop-induced repetitive hooks and coarse language to produce a solid hip-hop outing. Instead, Kero relies on excellent production, live instrumentation and honest lyrics from his point of view to make an album that flows from start to finish and will most likely end the year in more than a few top ten lists. While it isn’t edgy or controversial, and some listeners will harp on a lack of perceived street credibility, Early Believers reminds us that hip-hop doesn’t need to be any of those things to be fun. Early Believers will be available from Plug Label on April 7th. Check back here for our exclusive interview with Kero One.

The best part of this contest is the incredible range of sounds and styles that were brought to the re-envisioning of the track. Hiright came with a remix that brought in 808s and a drastic slow down on the tempo of the verse for his “808 Remix” while keeping the backing music uptempo. RockG went the opposite direction on his “Parents R Out of Town” remix, opting for a techno heavy delivery. Also on the electronic side of the spectrum, MixMatchMusic’s Gavroche decided on a “drumglitch” remix, subduing the source material under a pervasive layer of drum tricks. If those two don’t tend enough towards house music for you, DJ STINJ-E’s remix turns Zion I out into a serious rave sound. Inflect took the remix into serious video game sound territory, layering it with blips and beeps throughout before going heavy with the scratching.

While most of the remixes chose to slow down the tempo of the song, SliPro went the other way, upping the tempo behind an ascension of a grimy drum and synth march that sounds like a war march. Mike Ponticello stripped down the chorus over funky bass, and then built the chorus up around melodic synth parts and some haunting and airy backgrounds. Then you have the crunchy sound of the chopped up remix from Autobots.

My two favorite remixes were completely different, as one might hope from a remix contest. Hiright’s second offering is deep, relying on an eerie piano melody, descending space keys and a steady head nodding beat, even adding a dense verse of his own regarding his history with the music. This was the only use of an original verse that I heard in the remixes, which made it stand out. The NeoMob’s remix is the most club-ready in my mind, with great ascension and digitized voice samples.

To check out these remixes, you can visit the site here. And with the results not being announced until after March 25th, your votes still matter!

John Brown’s Body is an eight piece “modern reggae” band that has been playing its way around the country for the last 10 years, during which time they also released six studio albums. In that time, they endured more hardships than most bands should have to face in a lifetime, including the death of a bassist, departure of several original band members and throat surgery for the lead singer for vocal polyps. Perhaps all this real life strife and the revolving door of musical influence in the group is what spawned their unique style. Although their original sound was fairly true to traditional reggae stylings, as the band evolved their sound became more futuristic.

Check out their sound for yourself on their MySpace page. If you’re really ahead of the game you may have already gotten their newest album Re-Amplify (Easy Star Records), which debuted exclusively on iTunes on March 3rd (full release coming on March 17th). Like what you hear? Make your own remix of the song “Zion Triad” using the Remix Wizard on their Myspace page or in the MixMatchMusic Remix Wizard gallery).

Social media has certainly lent itself to such aims. But Twitter, MySpace, blogs, Facebook, and all the other myriad tools out there don’t necessarily guarantee success. You know what TOTALLY helps though? A viral video. Soooo…. how does one make a video viral? It’s pretty freakin hard as it turns out. Some of the successful ones out there were secretly promoted by companies hired to ensure virality. Some just got lucky. And some are really just… That. Good. Kutiman’s ThruYou project is one of the those.

Kutiman, an Israeli artist who grew up on jazz and later became enamored with genres like funk, reggae, and afrobeat (especially that of the Nigerian star, Fela Kuti), managed to stitch together all the proper ingredients for a very clever, and quite viral, video. He spliced and diced together all sorts of random content exclusively from YouTube (um, can we say long tail?) Not only did the result not suck, it was actually really good. The songs are solid and the video editing is slick and interesting. Perhaps Kutiman did kill the video star… See how did it here.

There are 7 tracks, all well worth a gander. Here’s my favorite:

Actually it’s a tie between that one and this one:

Pretty sweet, right?

In case you hadn’t noticed, Evolving Music has been a little smitten with the band Pepper lately. We brought you their remix contest (if you haven’t made a remix yet, do yourself a favor and have a go at it) and a previously unreleased live recording of their song “Too Much” during the Tra.kz Artist Spotlight. Still can’t get enough of these guys? Good. How about a little insider information straight from the horse’s mouth? I had a chance to catch up with Yesod Williams, the drummer. Here’s what he had to say:

Sandra Possing: Tell us about Pepper. Who is in the band? Where did you guys meet?

Yesod Williams: I play drums. Kaleo [Wassman] sings and plays guitar and then Brett [Bollinger] also sings and plays guitar. They kind of switch off the lead vocal role. We are from Kona, Hawaii originally, the big island of Hawaii. We all went to school together. It’s a super small town, so everyone knows everyone. We’ve pretty much known each other our whole lives and they’d been playing music all through high school. I started playing drums when I was really young and got burned out and pretty much quit altogether through high school and then right after me and Brett graduated, which was in ’97, we were at a party hanging out and me and Kaleo started talking and just thought it’d be cool to see if we could get something going and see if we vibed off of each other and that’s when we started the band in like June of 1997 and then moved to Southern California in May of ’99.

SP: Did you have any idea it was gonna become a serious thing or were you just messing around?

YW: We were just messing around at first, but I came to California on vacation after I graduated high school and I kind of got an inkling – I saw some bands over here – and I was like “Man, it might be something serious, if we actually take it seriously and make the jump over the Pacific and try and do something with it.” At first we were just playing parties and just playing around, but we always had faith and had the vision that we could do something with it. It’s so funny, cause I mean I listen to our first CD we ever recorded and in retrospect I’m like “Wow, we thought we were actually gonna go somewhere with that CD? We were crazy.”

SP: What do you do when you’re not playing music?

YW: Um, pretty much just golf and surf for me personally and try to live a “normal life” cause it’s such a different life being on the road all the time and not being at home, so we just kinda do the every day normal life thing. We do a lot of business too because we own our own record label, LAW Records. So we’re pretty much always working. We’ve always got our mind on music and what not.

SP: Do you hang out with a lot of musicians? Hawaiian or Californian in particular?

YW: There’s a band called Iration that lives up in Santa Barbara. They’re always coming down here to play and what not so we hang out with them. We also have a bunch of friends that moved over here from Hawaii so we still have a close knit group of friends that we grew up with.

SP: Have you ever surfed with Jack Johnson?

YW: No, I haven’t. We’ve actually never even played with him. Funny story… We had a chance to play with him a long time ago, back when we still had our 1976 Dodge Sportsman van [probably looked something like this] that we bought when we first moved over here and we were on our way up – this is in 2001 – we were on our way up to play with him and the transmission fully gave out and the van would only go in reverse. That was our one time that we were gonna play with him and needless to say it didn’t work out.

SP: So you didn’t drive backwards all the way up?

YW: No. No, we thought about it, but driving backwards just to get home was hard enough.

SP: Tell us about your music. What’s it about? Who are your influences? How do you describe your style?

YW: We grew up listening to so many different kinds of music and Hawaii is such a melting pot of pretty much everything. Music, culture and everything. I think that’s kind of what shines through. We dabble in many different genres, so really you can say it’s a bunch of different stuff put together, but in a nutshell I always just say we’re just a rock band with a reggae influence, pretty much.

SP: What kind of connection do you have with your fans? It’s very different when you’re playing live and when you’re not, but how do you keep that vibe and relationship going when you’re not performing?

YW: The main way to keep connected with your fans is touring, like you’re saying, but that’s why we’re doing this remix contest and everything. When you’re not touring you still gotta show your appreciation and keep them interested. You gotta give back. It’s the only reason any of this is possible, is cause of the fans. So, any way that we can get them involved – this being one of them – we’re super excited about… Kind of get them involved in the creative process and have them put their own flavor on our music and what not.

SP: So, the internet plays a pretty big role in that process for you guys?

YS: Ya, it’s so cool because it just gives you that much more connection with your fans, whereas back in the day it was like “Ok, buy the CD and then once a year you’ll get to see the band.”

SP: What first got you interested in having fans remix your music?

YS: I’d heard about someone doing it before and it just seemed like such a cool idea, you know? It seemed like something I wanted to do to my favorite band. Like, Red Hot Chili Peppers, for instance, is one of our favorite bands for the whole band as a whole. Given that opportunity and opening that door for music fans like ourselves – it’s just the most amazing thing ever. And why not? Art is the ultimate communicator. Anyway you can connect, bands should take complete advantage of it.

SP: Not everyone is open to the idea of people messing with their music – some of them are like “I wrote it, it’s my stuff, don’t touch it”, but that’s becoming so much less common and people are really embracing this whole remix movement. Do you think this movement is going to keep growing?

YW: I think it absolutely will. Like you said, it’s just a win-win situation for everyone. I mean, I do understand when people feel like their songs are their babies. You don’t want someone intruding on them and what not. But, at the end of the day, you’ve already released your songs on an album how you want them and this is icing on the cake and I don’t think it’s going to hurt anyone. I don’t think it’s going to ruin anyone’s band or ruin anyone’s music. It’s just gonna get people more excited and more passionate about the band.

SP: It allows fans to have a more emotional connection with each song if they can actually get involved.

YW: Absolutely.

SP: What’s the story with the song you’re using in the remix contest? What’s it about? When was it recorded? Why did you pick this one?

YW: It’s a song called “Freeze” and it’s the first song on our last album, which was Pink Crustaceans and Good Vibrations. It’s basically all about being at a show and, in a sense, claiming your sound. Not in a cocky way, just in a confident way… Just that you know what you are doing and you can blow people away. It’s not in an arrogant way at all. The song was recorded in Redondo Beach at a studio called Total Access and it was produced by Paul Leary from the Butthole Surfers – the original guitar player.

SP: What do you expect to happen with this experiment?

YW: I don’t know. There’s no telling, you know! We could get a version that’s even better than the one that’s on our CD, you know what I mean?

SP: Does that scare you?

YW: No, not even. I think the possibilities are endless and I’m really excited to see what the fans come up with. It’s super cool too cause we’re gonna… whoever wins the contest we’re gonna release their version on our label in some format, whether it be a single or on a compilation or something like that. On the other end of it, you know, some 16 year old kid could do this, could learn how to do mixing through the contest and then, you never know, he goes to school for music, ends up working in the industry… It could plant seeds for people. That would be super gratifying in my eyes.

SP: That’s quite a prize – certainly good motivation to participate. What do you see happening in the music industry in the next 5 to 10 years? What with the industry crumbling, the internet etc?

YW: I see the independent world becoming really the main epicenter for music and people releasing their own records. Getting the fans more involved too. One of the things we want to do with our next record is we want to record maybe 16-40 songs, and put rough versions of them up on the internet and basically have the fans pick which songs they want on the CD and then release the CD the way they want it. I think the DIY and the independent world is really gonna boom and take the front seat to the industry and the major record labels are going to take the back seat.

SP: When you guys make a song, how does it work? Does one person write the lyrics and everyone else figures out there part, or what?

YW: The majority of the ideas come from Brett and Kaleo and then we get together. I’ll have a couple ideas here and there, whether it be a chorus, a verse, or a whole song or just the guitar part or something. That’s how it kind of works between the three of us and then we get together. Then that’s when it becomes a Pepper song is when we all get together and we put our twist on it and we come to a common ground and then we go from there.

SP: Does that take a long time usually?

YW: Not really, especially Brett and Kaleo. Those guys are like vaults of music. They’re constantly writing and they have so many great ideas. It’s usually a pretty quick process. The thing we don’t want to do is kinda over think it. Some things get lost in translation and you lose some of the essence if you sit there and over think and rethink and rethink it. You’ve kinda gotta go with your first instinct.

SP: If you weren’t making music, what would you be doing?

YW: We’d all be waiters at a restaurant, cause that’s what we were doing before we started the band. It’s not that bad of a gig in Hawaii. You work in a nice restaurant, make $100-200/night in tips and you just gotta work at night and you can surf in the daytime. It’s pretty gravy.

SP: But, you’re pretty happy with what you’re doing now?

YW: Ya, I still pinch myself sometimes. We’re actually getting paid to do something we’d do anyway and that’s the way we’re living the dream. I want to enjoy it to the fullest for as long as I can.

SP: Have you had any crazy fan interactions, people throwing underwear on the stage, psycho stalkers etc?

YW: There have been a lot of underwear and bras thrown up on stage and people jumping on stage. That kind of stuff happens all the time… it comes with the territory. No real crazy stalker stories or anything… It’s more just, you know, when a show is sold out there is always a ton of people waiting outside the bus and trying to get tickets to the show. We try to help them out as much as we can and hook everyone up but, you know, there’s only so much you can do.

SP: Any last words of wisdom for our Evolving Music readers?

YW: Ya, definitely. I think the biggest advice for anyone that wants to be in a band or start a band is you gotta realize how much hard work it is and touring is the key to everything. You gotta get out there and you gotta go see the people that are supporting you and shake their hand and really show that appreciation and never take those people for granted.

We recently stumbled upon another solid resource for all you remixing aficionados out there. RemixComps.com is a new site that finds all the remix contests going on and tracks them for you. That’s right – it tracks them for you. Go ahead, be lazy. Just bum around on the site and find stuff to remix. Browse contests easily by Top Rated, Closing Soon, Quick List etc and even access old contests in Just Ended or the Archives. Or, for the ambitious UGC-prone among you, you can also submit your own contests or ones that you find.

Once you are sold on the concept and create an account, you can comment on and rate the contests. That’s how the good ones end up in Top Rated, obviously.

This service goes hand in hand with MixMatchMusic’s Remix Wizard for those who set up their remix promotion as a contest, i.e. set a deadline, include prizes. For example, Zion I’s remix contest is currently being featured on RemixComps – it ends March 12 and features some pretty kickass prizes like the winning remix being featured on Myspace and played on a radio set/podcast, plus signed copies of rare Zion I vinyl and more. Definitely worth a shot!

What a great way to delve deeper into DIY remixing culture. Rather than wasting time scouring the internet for songs to remix and sites that allow it, you can spend your time actually splicing and dicing the music and creating your own killer mixes.

For more info, check out their blog and follow them on Twitter.

Bay Area hip-hop duo Zion I is well known over the course of their discography for exploring musical sounds and genres not typically associated with the sounds of the streets. Zumbi’s introspective and intellectually based lyrics have found an excellent match in the musically curious mind of AmpLive, who aside from remixing Radiohead’s In Rainbows album has brought soul, funk, electro, house and rock vibes to hip-hop in a way that makes Zion I both incredible and enlightening to listen to.

Silent on the discography front since their 2006 collaboration with The Grouch, Zion I has poised themselves for a new group release, their first since they brought the Japanese only release Break A Dawn over the Pacific for a stateside release in ‘06. Their new album, The Take Over, is scheduled to drop next Tuesday, and in keeping with their format of engaging their fans and examining ways to evolve their own music in our current remix culture, they have launched a remix contest for one of the tracks off the new album, “DJ DJ.”

Today, Zion I released their stems from “DJ DJ” to the general public, using MixMatchMusic’s simple Remix Wizard. If you’re an audio wiz already, just download the stems and work them out, but even for those with less musical experience or musicians not interested in downloading the stems, the MixMatch wizard provides the stems and the mixing interface to make this contest accessible to anyone with a computer. What’s excellent about the format here is that it doesn’t require any previous experience, as the wizard is very intuitive and easy to use.

Finish your remix and upload it by March 12th and you’re in the running for some excellent prizes, including a spot for your remix on Zion I’s Myspace page and lots of great Zion I stuff for the winners. For more information or to enter the contest, click here.

Well, when Colbert was very specific about becoming “possibly litigious” should anyone take portions of his interview and remix it with a dance beat, he had to do so knowing full-well that someone would. He wasn’t disappointed as two days later, internet upstart IndabaMusic jumped into the fray with a full site devoted to remixing the Colbert/Lessig interview. But it didn’t end there, did it? With Colbert, how could it? Never being one to avoid an opportunity to poke fun at himself, Colbert remixed a video of his own work to a pulsing dance beat, and told the remixers to lay off again, to of course encourage them to remix more. Enter Dan Zaccagnino, head of Indaba who had an interview on Colbert the other night (interview at 14m in) to talk about the remix culture. Of course, these types of remixes are nothing new over at MixMatchMusic, which has had success with their Remix Wizard. While the Indaba/Colbert remix contest is excellent, it is Indaba based. MMM’s Remix Wizard is a free widget that can be set up and used by any artist on their website to host remix promotions. It doesn’t even need to have anything to do with music, as evidenced by Remix Sarah Palin.

While Colbert’s thoughts in the interviews with Lessig and Zaccagnino are clearly meant to be humorous, they serve a larger purpose in that these episodes help create buzz for a rapidly growing and increasingly important segment of the music industry: collaborative pieces brought about through alternative means. Indaba has managed to create a large community of musicians from around the world who are engaging in internet based musical collaboration, and this is a huge first step in breaking down barriers within the recording industry.

But with every broken barrier comes the question of the next frontier. While Colbert asked Zaccagnino what happens to girlfriends breaking up bands if the musicians collaborate on the internet, he failed in his attempts at humor to get to the root of the issue, namely monetization of content. While not many musicians will actively think internet collaboration as a means to avoid break-ups with their significant others, a most serious topic of interest to them is how they can profit from their work. No artist likes the idea of losing control over their work, but if knowing that the usage of their work by others would create tangible income for them, the concept of collaboration and other artists who liked them enough to mix them with their own pieces becomes a much more appealing, and therefore widespread trend. As with the foresight of their DIY remix widgets, MixMatchMusic provides the ability for artists to monetize collaboratively made songs, as well as contribute stems to their social sample library to earn royalties.

The monetization of artist work and internet collaboration is the next step in the rebuilding of the music industry. As fans become more involved with the artists because they are part of a shared internet workspace, the desire to support an artist will increase. Add to that the ability to remix their favorite artist’s work, and the fan interaction with the music becomes uncaged. Forget making a mixtape for a friend. Imagine taking your favorite songs and going Girl Talk on them. This interest and desire to support the artist would in turn funnel revenue back to the musicians.

The recording industry would say that this has been the goal of their war on file sharing, but that is an outrageous lie as most artists never see a dime of the few settlements the RIAA succeeds in obtaining. Little wonder then that the RIAA is backing down. In fact, one could argue that the backlash against the recording industry has been fueled by the consumer perspective that the artists aren’t seeing the profits they should. Furthermore, as revenue streams move away from the major labels and into the artists’ pockets, the majors will be forced to work with both musicians and consumers on more viable distribution and revenue models.

But forget about the money and the labels and the upheaval in the industry. How will this help music evolve? As more artists turn to internet collaboration because their work is safe and profitable, the inevitable evolution of genres and musical landscapes will grow exponentially. Think The Beatles and Jay-Z were cool? What happens when you can take a French hip-hopper’s lyrics, a tribal drum beat from a musician in Africa, a flute melody from Tokyo and a guitar piece from Columbus, Ohio, and add it to your piano piece from the comfort of your home and computer? Sure, you could make money, but look at what your collaboration has created musically. When internet collaboration is monetized and all-inclusive, the community becomes the music industry, and the listeners become the musicians.

But up until now, the shortened URLs, the pictures, the @replies… these are fun things that have kept me busy, but haven’t yet broken into the main area of interest that I have… namely, big shocker here, music. So when I read about Songly, I was of course intrigued. The service allows you to use ANY URL that is hosting an Mp3 and post it as a Tweet. Here’s the kicker though… it doesn’t just shorten the URL and make it tweetable… it wraps it up in a flash player so anyone can listen.

To try out Songly, click here, and to read my first tweet attempt at such a thing, click here. I’ve used the new Souls of Mischief song, “Tour Stories” (click here for Souls of Mischief interview.) And for those of you rocking FireFox, Songly has an integrated tool for it. Talk about musical connectivity. A fantastic way to share music that will surely evolve with Twitter, forming the future of content sharing. Only drawback? Since the player they use is Flash, your iPhone friends won’t be able to listen until they get to a computer.

Since Evolving Music typically focuses on topics like the schizophrenic music industry, emerging technology, social media, and artist reviews and interviews, it’s easy to make assumptions about our readership. Sure, anyone might stumble upon our blog and find a post that interests them, but you kind of picture the majority of the readers falling into certain categories like DIY musicians, other geeky music tech bloggers, people from the myspace generation…

As such, at first it was surprising to find that both our winners come from the mommy blogger demographic. Logically though it makes sense. They are everywhere! Mommy bloggers are fast becoming (if they haven’t already) one of the most influential groups online. Avid blog readers will recognize names like Dooce, queen bee of the mommy blogger tribes and one of the lucky few who actually makes a living doing it. With four million page views per month, you can easily picture the advertisers lining up with tongues all a drool. On the flip side, can you imagine the immense pressure of an audience that large? Millions of people hanging on your every written word? She is quite a lady.

With all their genuine commenting, link trading and sharing of emotions, mommy bloggers epitomize the power of social media. Naturally, this slice of society has tremendous influence when it comes to products and thus many mommy bloggers have become trusted sources for product reviews. “Marketers have just started to scratch the surface of this untapped medium,” according to Fahlgren. This phenomenon appears to be very much on the rise.

For those of us tooling about in music industry, the question is this: Are mommy bloggers into music tech? If they are, what kind of influence do they have in the space? And what does that mean for the other players in the field – the artists, the bloggers, the entrepreneurs, the fans, the record labels…? Should artists focus on recruiting and engaging fans in the mommy blogger demographic? Should music related companies target them as an audience for products and services?

Are there statistics out there that’ll tell us what these mommy blogger types are interested in? Because clearly it isn’t all discounts on diapers and parenting tips. Some of them are prolific writers with incredible pull in their circles of influence.

Opio of Souls of Mischief

Tajai of Souls of Mischief

Since the early 1990s, Oakland, California based Hip-Hop collective Hieroglyphics has taken on many shapes and sounds, from the lyrically complex and dense solo stylings of Del tha Funkee Homosapien to the rapid-fire and diverse delivery of Hieroglyphics to the smooth and masterful underground sound of Souls of Mischief. Spanning nearly two decades, Hiero and Souls of Mischief have brought new sounds and ideas to the industry while also providing a backbone of creativity that has helped influence the entire Bay Area music scene.

In November I had the opportunity to sit down with Tajai and Opio of Hiero and SOM, two members responsible for an incredible amount of solo and collaborative work for the HieroImperium. In part 1, we discussed their musical backgrounds, the formation of Hiero and the difficulty of staying relevant in a music industry that places an emphasis on the “next big thing.”

ACtual: Starting off early, what were both of your initial musical influences and inspirations, and when did you decide that rapping is what you wanted to do?

Opio: I used to be hella into Reggae, really. Yellowman is one of my favorites, obviously Bob Marley, Peter Tosh, they had the swagger that got me on rap. My parents were really into music, so through them I heard Earth, Wind and Fire, Parliament-Funkadelic, stuff like that. When I first really started to hear rap, I heard “Rapper’s Delight,” stuff like that, Grandmaster Flash. They used to play Rock and Roll stations out here, mixing, like college radio. Really the first time I heard “Rapper’s Delight,” I was just hooked to the way he was spittin’, it was cool, and it just evolved from there. All the older cats in my neighborhood were listening to them, breakdancing, graffiti and all of that was a part of it too. At the same time cats were breaking, graffiti artists, so it was that whole Hip-Hop culture, it wasn’t only just the rapping, I was breakdancing, all of that.

Tajai: Funk, I would say Funk was my biggest influence. Parliament, Bootsy, George Clinton, and then Too Short is probably the main reason I rap just because all the other rappers, I saw other people doing it, but I didn’t think that people from here could do it. As a kid, it was just my perception of it was something that other people did until I saw Too Short rapping and then I was like, “He’s from here and he raps.” That’s when I really started seriously rapping.

AC: You two as well as the Souls of Mischief crew met early on. Talk about how all of you met, came together and the creation of both Souls and Hieroglyphics.

T: We grew up in the same area, so I’ve known Casual and A-Plus since like Kindergarten, 1st grade. Del was at the same school as us, we just sort of all had a mutual interest in Hip-Hop, so once Del got on in ‘91 he sort of brought us into the industry, but we had been rapping together for a long time before that. Casual went to junior high with Op.

O: The first time I went into the studio ever, me and Casual rented a studio in the 8th grade. Our man Terai came with us, he was in the 7th grade. I wasn’t even rapping then, I was a DJ, so I was DJing, scratching during that time. This is in the 7th/8th grade, me and Casual went to junior high and he already knew them. I would listen to their music when I was in junior high but I hadn’t really started to kick it with Tajai and A-Plus, but he would have tapes and be like, “listen to my partners.” I’d see them up the block and be like, “there goes Tajai right there.” We really started hanging out in high school, but the whole time we lived right around the same area. We all lived around the same block as each other but we weren’t really in communication until high school, and that’s when we really became a lot more serious about the rapping.

AC: You were released on Jive Records in 1993. Talk about the process of creating that album and what working for a major label was like. You were what, 17, 18 when that album came out?

O: Yea. That album to me was something, that, I would listen to songs that they had done when I was in junior high and me and Casual went into the studio, we were kinda serious about the whole rap thing. Tajai and A-Plus were working with Sir Jinks and they had a professional sound that inspired us to get on our business a little more. This is early on, so we had been working on our craft until we came out. We were probably 13, 14 really serious going to the studio.

That album, even though we recorded it in 2 weeks, it was something that was formulating for a lot of years. I really think it was highly influenced also by the whole crew aspect, not just the fact that we were Souls of Mischief, because we’re competitive by nature within Souls of Mischief, but then there was also Del and Casual, Pep Love, we had these other fierce MCs. Even during the time before ‘93 til Infinity came out, everybody heard the demos, so we had something to live up to. People would hear the demos and be like, “the album will be wack, whatever,” and they heard other cats around us that were really shining, so it was a long time coming to me, that album getting done, even though it seemed like it popped out of nowhere, we had been working for some years.

AC: When Hiero formed, what was your original vision for the group and how did you go about making Third Eye Vision?

T: We’ve been together as a crew since before Del’s first record. Our vision then was let’s just all be the best we can be, get signed and be super stars. That’s different than how things progressed just dealing with major label politics, and the fact that, for someone to walk into Hip-Hop today, they have no idea that even when we came out it was still like a sub-culture. So being a super-star and blowing up meant selling a couple of thousand records, maybe going gold, but not platinum. The only people going platinum were guys like Vanilla Ice, MC Hammer.

So once we got off the majors, it was like let’s not stop making music just because we don’t have a label, let’s keep making music and then Domino was like, “Shoot, we might as well put this record out instead of trying to shop it, and from there we started Hiero Imperium and we’ve been rolling since then because it’s been, I’m not going to say easier logistically, but easier in regard to being able to be agile and creative. And now, almost 10, 11 years later, we’re really reaping the rewards of having laid that groundwork of being independent so long. Third Eye was something we recorded out of the need to make music, and then from there it built up to this independent label.

AC: With HieroImperium, you guys have been putting out albums and podcasts for a while now. What do you find to be the hardest part of being in this industry for as long as you guys have?

T: We’re not new, that’s the problem. To people who have never heard of us, which is not that many people, it’s like, “Wow these guys are fantastic!” But to people who have, it’s like, we come with something we feel is our best work and it’s like, “Ok, that’s dope.” There’s so much garbage out here that gets attention because it’s new, and that’s the frustrating part about it. If you’re consistent in music, that’s not good enough a lot of times, you have to have controversy or you have to fall real low to bring yourself back up, but we’ve been consistent and there’s so many of us, that that’s the biggest problem I see, we’re not new.

O: Also, over the years of doing it, touring, consistently going out and being on the road, not just only recording the albums, but the whole rap life in and of itself can take its toll. Sometimes people get jaded, but I think that luckily because there’s a lot of us, we’re able to keep ourselves focused and sharp. Without other people pushing you, and you’re hearing people recording songs and maintaining that creative energy and you don’t have it, your brother can lift you up a little bit and you hear some new shit, “oh man that’s dope,” it kinda gets your juices flowing. Maybe you’re at the house just bored, you wrote so many raps you’re through with it for a hot second, so it’s always a good thing to have other cats around you working and doing stuff. Casual, he’s always busy, Del is always in the lab working, A-Plus just consistent with the beats, so you can always go to those guys and be like, “What’s new?” just to get a little spark.

AC: In terms of approaching the writing, how would you say that your styles differ when you’re trying to come up with stuff for an individual album vs. working on a Souls project or working on a Hieroglyphics project, how do you approach each of those differently?

T: You’re competing against yourself when you’re making a solo record, so you get to look at things more holistically, you look at the entire project as a whole and where things fit in. Whereas when you’re in a group, you’re looking at how you fit into that particular song. With your own records I think it’s harder because you have to push yourself a little bit harder to be better than yourself, verse by verse and song by song. With a group album I think it’s easier because there’s so many other people you’re competing against that you have to come with your best work, that’s the main difference for me.

O: To me, I just feel more comfortable in the group element whether it’s Souls of Mischief or Hieroglyphics, I like the collaboration aspect of things and working with other cats, so to me that’s always been fun. I saw the challenge more so than doing music with others, trying to do something by myself like it’s a Herculean task cause you have so much more that you have to do. At the same time, once the process gets going, you kinda relax in your environment and it’s a good place to be because you can advance your style a little more. You get to go longer.

Especially in Souls of Mischief, we try to keep that quick jab approach so for me it’s kinda fun to just run my mouth for a little while. I’ve always been trying to explore more avant-garde styles whenever we’re doing songs with Souls of Mischief, so you can see the different elements that we bring to the table when you see our solo projects. You can see the different parts working. Sometimes it’s hard to tell what it’s like when you’re listening to the group all together then you get to hear the solo and be like, “So that’s how Souls of Mischief comes together,” at least for me because I’m a fan of Souls of Mischief too, even though I’m in the group, when I’m with other cats I love to hear the music and I like to hear the solo albums as well to see them even go further with it.

AC: Going off what you were saying earlier about the hardest thing is having been here for so long because new stuff always gets more attention. You hear a lot of mainstream writers, media people that say Hip-Hop is dead, and rappers will sometimes say that too. But there’s a lot of really good Hip-Hop out there if you know where to find it, so what do you listen to and what other artists in the genre inspire you?

T: Percy P, Guilty Simpson, Madlib, Black Milk. There’s a lot of groups that you probably won’t hear anywhere but satellite radio. I like Lil Wayne because he’s pushing the boundaries of mainstream but he’s doing something wild and crazy to something that just listened to dance rap so that’s good because maybe their minds will open a little more to people who dwell completely outside of that, but ain’t really much on TV that I like, not because it’s on TV, but because Rap music is really Pop music now. Hip-Hop can’t ever be dead. It may not inspire you the way that it used to, but that’s probably because you’re just not into it anymore. But as far as Hip-Hop, when we do shows and there’s thousands of kids there, it’s like, what are they talking about?

O: The way that Hip-Hop has been brought to the table and how it’s shown, it’s really not the true artform of it. It doesn’t represent. It’s more for trying to sell products, clothes, alcohol, stuff like that. It’s like a big commercial. But when there’s true artists trying to explore the creative process and what it takes to make a great song or a great lyric, a guy like J Electronica for instance is really dope. There’s people out there that’s doing it, but when you watch Rap City, you don’t get to see those guys that often.

I just feel like the vehicle that people are going to start getting Hip-Hop with is going to open the doors for more creative styles, people that are pushing the envelope stylistically and creatively which for me is the essence of Hip-Hop. How it was when De La Soul was coming out and A Tribe Called Quest was coming out, new flavors. I feel like that old form of commercialized, over-commercialized Hip-Hop, that is dead. It’s old hat, you can only use that so much before people get numb to it and it becomes a hard sell, pouring champagne everywhere, throwing money everywhere, people have seen that so much it doesn’t sell shoes how it used to, so now they’re going to start looking to the underground to do that.

AC: We were talking earlier about your latest project, Vulture’s Wisdom, Vol. 1. Talk about your vision for the trilogy, when the other albums are going to come out and what the idea behind these solo albums is.

O: I was just working with my man Architect, I’ve always been a fan of his music and his beats for a long time. He’s always been a cat that was out there, the style of his music is something that I always had a good time and enjoyed listening to. He worked next to us at High Street studios, he had a spot next to me so we had more of a chance to kick it and hang out and we were talking about doing a record, but it never really came together. Eventually I saw him in traffic one time and he was like, “I’ve got some beats, I’ve been thinking about you, we should do an album together.” When he hit me some of the beats and the style he was working with, it was perfect, we were right on the same page at the same exact time, so from there we just started collaborating and made a lot of music. Then we decided that we should not really stop at just one thing but hit cats with at least three projects, so that’s how the whole idea for the trilogy came up. The concept behind the title, like we were talking about earlier how everyone says Hip-Hop is dead, there’s nothing there, it’s over with whatever, we were like, “Nah, we can eat here, it’s still a viable option for us,” so that’s how the Vulture’s Wisdom title came into play.

We just are really trying to kill the backstory in terms of that being the forefront, we want to make the music the forefront, the style, the beats, the rhymes, the lyrics, not really like this guy did this, that, and the other. There’s always the story and sometimes it’s more interesting than the music and then you hear the music and you’re like, “this is what all the hoopla is about?” We want to bring it back to where the music is what people care about more so than the imagery. I feel like the 90s are something that people are trying to reach for right now, like that’s the golden ear, which for me is ‘88, but other cats are more caught up in that ‘93 era right now, always reaching back to the 90s and trying to bring it forward to here. Whereas I’ve always been a part of that connected to the whole essence of real Hip-Hop, so that’s where I come from, that’s my pedigree, whereas other cats might be trying to bring that back, I’m just trying to stay in that vein that I’ve always been in, that true essence of Hip-Hop, so it’s not a stretch for me to come and do something that people might call “real Hip-Hop,” that’s what we do, that’s Hieroglyphics, some of that good shit.

AC: Tajai – Stanford Anthropology grad, is that right?

T: Yea.

AC: How do you feel that education, that degree has helped your music? Have you incorporated that in your career at all?

T: It’s helped me with research, but that’s about it. School is school, it’s different from music, it just helped me research topics. Aside from that, it maybe helped me be organized in terms of my business, just going to school in general, but that’s about it.

AC: How important is it to you guys that you’re not major label? Do you think that you would have gotten anywhere near what you have accomplished if you were working for a major?

T: You’re just at the mercy of the market. There’s artists like J*Davey, Bilal, artists that you’ll never see their record. They’ve been in the industry now for almost a decade but because it doesn’t fit the labels idea of what records are supposed to be, it never comes out, so in that respect we probably would never have been able to bust the moves we could. It’s still different, it’s not like you’re doing it for a more noble purpose when you’re independent or you’re major. The way it is now, we’re like a major independent, us, DefJux, Rhymesayers, probably Stones Throw are labels where people want to get on the label, so it’s like they’re treating our independent record label like we would treat a major as a signed artist. We have more control, but really the market determines a lot of it and it’s harder right now to not be seen as generic in this marketplace because there’s so much. I mean, I think there’s more musicians than fans almost, especially rappers. So it’s hard to distinguish yourself as far as “into the marketplace,” so in that respect, it might even be better to be on a major label where they have the money to market you, where you have a shoe and a commercial and an appearance on Entourage and all these different things that are going to give you more exposure. Like when we put out a record, when we put out Vulture’s Wisdom, it has 8 videos, and how many of those are going to be on TV? We send them to TV, but do they end up on TV? No. So it’s really like we’re relegated to YouTube and MySpace and satellite radio and internet radio, and that’s the downside of being independent. It’s more a matter of exposure and it’s a double-edged sword. They’ll spend the money to expose you, but if they don’t like what they hear, they’re not going to expose you at all and you might never see the light of day.

O: If you’re doing it in terms of a business endeavor, you have to take advantage of what’s out there. I feel like for Souls of Mischief at the time, how the market was, us going major label was the best way for us to go at the time. To try to go independent would have been a bad look. It gave us a really good opportunity to get our music out there. We made what we really wanted and it got out to the people. For a time, the labels were all about trying to make super Pop Hip-Hop and I don’t know if they were going towards super avant-garde now, but definitely the tide has changed in terms of which artists are selling records. Lupe Fiasco is outselling artists, he’s like top-tier in terms of who the guy is. Kanye West outselling 50 Cent, so there’s a changing of the guard where if you are really more on the creative side of things, you might be able to get in and bust some moves, if you’ve got what it takes. Some people don’t necessarily have that appeal so it might be bad for them to go the independent route, you gotta really weigh your options. Cause the main thing, what you want to do is get your music out there for people to see you and listen to you and at the end of the day, to me that’s the most important thing. Then you can do whatever you gotta do with your hustle.

Check back with Evolving Music on Friday for part 2 where we discuss the future plans of the group, their thoughts on the remix culture and their favorite Hip-Hop albums of all time.