Claudia (UZR): In the first episode of The Beat Makers we have seen how the project “Who cares if we’re dope vol.3” (Aztext & Xpl) came to be. Can you tell us how the collaboration with DOC or SkilltesterStabbone, his pseudonym/pen name for English songs, came about?

XPL: We had already finished 3 songs for the mix/master when the idea came to us. I don’t exactly remember who came up with this idea but we all definitely liked it. A collaboration with Memms (USA) was already in the project so featuring someone from Romania also seemed like the right thing to do for us. DOC was the perfect/ideal “candidate” considering that he is one of the few MCs who sound good in English and he had already made himself known with the song “No love”.

AZTEXT: We worked with SkilltesterStabbone (SS) back in 2008, on a song produced by Jupiter called, ‘No Love’.  The song turned out great. We were amazed that SS was better in his second language, than most MCs are in their first!  Soon after ‘No Love’ was released, XPL hit us with a few beats, and we loved his production… Early in the planning stages on Volume 3, I asked XPL if he’d mind if we reached out to SS for a collab, and we was real excited about it too. We reached out to SS, and the rest is history…

Claudia (UZR): DOC, we know that you have chosen a pseudonym for your English songs in order for you to not be confused with the other DOCs in the States. But why the ironic reference to Sylvester Stalone?

DOC: At a certain point in time, back when I had a lot of free time for aberrations, Deliric took for himself the alias Dope Lungreen. Then I started to verbally caricature Sylvester Stalone and the name Skilltester came up.

Claudia (UZR): How did you choose the theme of the song?

DOC: I had received several beats from XPL. He told me to chose one because Aztext wanted us to make a song. I chose the beat and I listened to it. The instrumental told me what to write. Actually, that’s the way I make songs. I write what the drums and the sample tell me.

AZTEXT: Actually, that was all SS… XPL sent him a few beats to choose from, and he picked the beat and wrote and recorded his verse and chorus.  When we first heard his parts, we couldn’t wait to write ours! I (Pro) wrote and recorded my verse that same day, even though I was sick as hell! (Which is why I start with the line ‘I woke up with a fever of 102’. I really had a fever of 102).

Claudia (UZR): The project includes 5 tracks. Why did you choose “Break it down” for a music video?

XPL: If I remember well, Leo aka Chill Will was the first to suggest making a video for this song. I remember I sent him an incipient mix of the song and he really liked it. He played it for a couple of days and then he came up with the ideea. I personally thought it was a great choice, considering that it is an international collaboration I was expecting the video to be well received. It was also the perfect chance to mark the global map of hip hop with the Romanian watermark.

DOC: I think the collaboration was more special, also the song is very mellow, it sounds a bit different from what Aztext usually does.

AZTEXT: We thought it would be cool to produce an international video, that really showcases how global hip hop music has become.  What’s cool about it, is when you look at the video, Vermont and Romania don’t look all that different.  When it comes to hip hop, it’s never been about where you’re from… it’s where you’re at!

Claudia (UZR): Considering that the music video was made in different countries, how did you handle the shooting of the video? How long did it take, what were the locations and not lastly, who was behind the camera?

AZTEXT: Skilltester shot his parts first, and our plan was to mimic what he created.  When we saw his footage, we were pumped because it was exactly what we were hoping for, a true ‘hip hop video’.  It’s cool to have videos with story lines and concepts, but this song didn’t need that type of video, it needed that raw, early 90’s hip hop video feel, which we feel we accomplished.  Our video parts were shot in locations in the neighborhood we live in, in Burlington Vermont, and believe it or not, Learic and I shot our own parts! I filmed Learic and he filmed me.  We have both been involved as actors in a lot of movie productions, so we were real comfortable behind the camera.

XPL: Like PRO said, DOC shot his parts first… right after Easter, the second day after Easter I think. In Constanta, the shooting took place at the basin, on Badea Cartan street and it lasted two days or so. For the first day we shot the drawing. We started at noon and we finished after midnight. We actually turned the place into a party after… a lot of people had gathered and it was inevitably. The second day, after we sobered up a bit, we went and shot a few more scenes at the basin and the port. Romeo Bosna (www.blowmeup.ro)  and Gabriela Badea were in charged with the shooting.

DOC: As for me, I filmed everything in 3 hours. Behind our 5D was Adi Iurchevici, a regular of CTC’s music videos. We filmed around the Old Center and I also brought in my homie Carbon so I don’t seem lonely and blue.

Claudia (UZR): Who made the scenario for the music video?

XPL: It would have been hard to put together a universal scenario for the video, this damn distance would have prevented us to do so. Therefore, everyone had a free hand. I had a bunch of ideas for this music video… I didn’t want to just limit myself to the idea of “mimic” because it doesn’t represent me. Unfortunately, I never had all prepared and I left everything to the last minute. On the 8th of July we were supposed to show the video at Deliric’s concert in Constanta, while in the same week I hadn’t filmed anything. Neither had Aztext. Just a few days before the concert we mobilized and came up with the idea of the Graffiti which we put into force.

DOC: We gave the lead to the shooting, we sent the material in the States and the Aztext guys matched to what we had filmed.

AZTEXT: SS shot his parts first, and we just followed his lead.  XPL came up with the idea of having his homie Clas do a graffiti piece and include our name and the Hippoe logo, and we thought that was brilliant.

Claudia (UZR): Whoisrikk (Ursu Andrei) was in charge with the final montage of the video. Why a Romanian and not someone from the U.S?

XPL: As I said, everything was done hastily. Once I also finished filming, I contacted PRO and told him that all that was left was for them to shot their parts and hand the parts over to montage. But it happened that 4th July was near. Then I thought about Whoisrikk whom I knew was responsible for the music videos of Kraftu and it was the best solution. The man did a very good job, more so when he had to work on the run, under pressure and with material shot on different cameras. Peace to him!

AZTEXT: Originally, we were going to have Brent Harrewyn edit the video for ‘Break It Down’. We worked with Brent on the video for ‘I Make Records’, and really like his work.  When it came time to edit and shoot the video, XPL hit us on July 2nd and told us it needed to be finished by July 8th!  Unfortunately, July 4th is a national holiday in the States, so we couldn’t find anyone who had free time that weekend to help us out!  XPL let us know his homie Whoisrikk was available to help out, so it worked out great! We worked with Whoisrikk when we released the album snippet for Volume 3, so we knew how talented he was… The timing of July 4th weekend is also why Learic and I ended up filming our own parts!

Claudia (UZR): XPL, the video features images of a graffiti drawn on the walls of Constanta. From where came the idea and who is the artist?

XPL: Why graffiti? I wanted to bring the phenomenon a bit closer to hip hop again because it kind of scattered. I’m not sure to what extent I managed to do so, but at least locally there have been some notable changes. Originally, Clas and Erps (Much love to both!) were supposed to draw, however, that weekend, we couldn’t find cans anywhere, they were out of stock even in Bucharest, so we had to postpone it. In the end, only Clas drew and he did an amazing job. You should check out the pictures from the Writers Bench column… the final version of the drawing does not appear in the video.

Claudia (UZR): Is this the first song produced by you for which a music video has been made?

XPL: It’s the second one. The first one was a song from CreTzu’s solo album, namely “Ultimele Resurse” (“The last resources”). It is, however, the first music video on a beat of mine which makes it on TV.

Claudia (UZR): We all know it is hard for a music video to make it on TV, especially one from the hip hop area. How did you manage to get it on TV, without showing almost naked women and luxury cars with lambo doors (which are so catchy for most of romanians)?

XPL: I had nothing to do with this matter. DOC knows better.

DOC: With the help of some people who sympathize with us and admire our struggle to put hiphop on the canopy of heaven, we managed to broadcast the music video on 1Music Channel, at HipHop Hour.

Claudia (UZR): Is the video being broadcasted only in Romania or is it also broadcasted in Vermont (SUA)?

AZTEXT: In addition to Romania, the video is also being broadcast in South Florida (Miami area) on a Television station called Jannus Live.  There really aren’t any music channels in the States anymore. It’s really sad, but MTV and VH1 play reality TV shows at this point, so there isn’t many outlets to have your video broadcast on TV over here.  We’re doing our best to push it through Canada on Much Music.

Claudia (UZR): How is the situation of hip hop music videos over there? Is it easier to have them broadcasted on TV?

AZTEXT: It’s real hard to have music videos played on TV in the States.  Television channels that used to play music videos (MTV, VH1), have stopped playing videos all together.  They have some spin off channels that play videos, like MTV Jamz, but those channel plays Billboard top 50 hip hop songs, exclusively.  For underground Artists, like The Aztext, the best way to have your music video played is through websites, blogs or television channels in Europe and Canada.

Claudia (UZR): Do you have plans for other future collaborations? DOC, perhaps other projects under the alias of SkilltesterStabbone?

XPL: With Aztext I’ll be working again for sure! With SS I really don’t know but with DOC it’s more probable.

DOC: Yes, I’m waiting the master of a really hot track, a collabo with one of our old homies. You’ll see with your own ear drums.

AZTEXT: We don’t have any collaborations in the works right now with SS, but we’re hoping to connect again in the future!  We’ve put him in touch with our homie Dub Sonata (producer from NYC who’s worked with Rhymefest, Queen Latifah, Vast Aire, Nature, C Rayz, Kool G Rap, Sadat X and many other hip hop artists), so we’re hoping to hear a Dub Sonata and DOC song sometime soon.

Source: http://www.uzr.ro/interviu-aztext-xpl-si-doc-aztext-xpl-doc-interview/

Featuring on our new Skope column, Linear Regression is The Aztext. This is where we dissect an artists sound, a producers style and give folks a bit more insight into where concepts come from and how lyrics are born. The Aztext are a Vermont residing duo, who have been doing their thing on the indie scene for a while now.

Using the services of various producers for their Who Cares If We’re Dope EP’s. We managed to sit with them and ask them about Volume 2 which sees them work with ‘San Francisco’s head-nod King’ – Touchphonics.

How would you try and sell this EP to someone who has never heard of The Aztext?

I think the EP’s greatest asset is its diversity, especially for someone who has never heard our music, or heard of us in general.  While all the beats were produced by TouchPhonics, each track has its own distinct sound, and I think that can be appreciated by someone who’s buying a musical release that only contains five songs.  Each track is about something different, has a different sound, and is approached differently by us in a creative sense.  So, for someone who is new to our music, I think it is a great introduction, simply because after they have heard all five songs, they will have experienced a wide array of what we have to offer as artists, rather than five songs that all virtually sound the same, which would result in the listener only really having to hear one of the songs to get a sense of the group.  This way, listeners can gravitate to the songs they like best of the five, depending on their particular taste. 

Can you tell us which track means the most to you and why?

I feel the most connected to ‘I Make Records’ simply because when I was younger listening to music, there were so many albums that I could buy, pop in the stereo, and listen to the entire thing without hitting the ‘next’ button, or having to tolerate unnecessary filler between songs.  It is a powerful thing when a group releases something like this, because it is indicative of a tremendous amount of time, work, and creativity that went into putting together the project.  It was put through the same perfection process a work of art would go through before it is mounted in a gallery or sold to a buyer.  This results in that particular album being timeless.  This is something we strive for, simply because it is something we hungered for as listeners of music, so we try to keep that in mind when creating an album.  Now, with the EP’s, it was a challenge, because each one would only have four or five songs, and a different producer, but we still attempted to create an experience with the entire season where the listener would never be given something that we didn’t feel completely confident about putting out, and that we hadn’t put all the finishing touches on.  It is the editing process that results in artists releasing these types of ‘cover-to-cover’ albums, and we try to stay true to that.  So, for our final verse on ‘I Make Records’, we wanted to pay homage to all the albums that we felt fit into that category and inspired us to make the music we do today. 

‘I Make Records’ shows some serious wordplay in the final verse.  How long did it take for you to put that verse together and were there any albums that didn’t make the cut which you tried to make fit?

This is actually something we did before on our first album, with the final verse of the song ‘It’s True.’  On that track, we took all the rappers or hip-hop groups that inspired us throughout the years and wrote a story using all their names (or track/album titles) as connecting points.  We thought this was a cool way to show our fans which artists inspired us to rap, and also for us to pay homage to these particular artists in rhyme form. 

With ‘I Make Records’, let me just say that it was a much more laborious process putting together the list of albums we wanted to include.  This is due to our growth as artists, and an attention to detail that we acquired over the years.  It probably took a couple hours just coming up with the list.  We definitely wanted to include all albums that we felt fit into this category, of being ‘cover-to-cover’ classics, not just hip-hop albums.  Our influences extend outside of the genre of hip-hop and we felt it was only right to show this on this particular track.  After we came up with the initial list, we grouped album titles together based on which ones rhymed with each other.  That probably took another 45 minutes to an hour.  After that, we started trying to create the story we would tell using all of these titles.  The process of actually creating the final verse once we selected which titles we would actually use took about 2 to 3 hours.  The initial list is definitely much longer than what we ended up using in the verse, simply because it just wasn’t possible to include everything.  The ones left on the cutting room floor were:

Abbey Road, In Utero, Superunknown, Hard to Earn, Revolver, 36 Chambers, Masters of the Universe, Women and Children First, Highway 61, Shadows on the Sun, 3 Feet High & Rising, Mama Said Knock You Out, Strictly Business, Illmatic, Blood Sugar Sex Magik, Master of Puppets, Harvest, The Infamous, Dangerous, Beggar’s Banquet, A Hard Day’s Night, Paid in Full, Moment of Truth, The Coming, ATLiens, The Chronic, Naughty By Nature (first album/self-titled), Tical, Iron Man, Supreme Clientele, Band of Gypsies, Wish You Were Here, Vulgar Display of Power, Internal Affairs, Here Come the Lords, Beats Rhymes & Life, Thriller, Off the Wall, Blond on Blond, & Nothing Shocking.

 Each track comes with its own sound; ‘Tear the Moon Down’ is so much faster than the other four on the EP.  Did you choose production that would test you as MC’s and allow you to show your lyrical skills?

I think every MC likes to see how fast they can rap and test themselves to this extent.  However, with this track, it more came out of a mutual desire to incorporate our music with what the producer of the EP is capable of.  Touchphonics is also a prolific drum-and-bass producer in addition to making hip-hop beats, so this has been  something we’ve wanted to try to bring together for some time.  This EP was a perfect opportunity for us to do so.  In the end, it became about more than just the speed of the track.  Once the hook came together, and the cuts, it just became about making it the best possible track it could be, rather than just a way for us to rap as fast as we could.  Although that was a pretty fun challenge for us.  It also gives us a chance to branch out to drum-and-bass fans that might not be aware of us as artists. 

‘Cool Don’t Exist’ is a track that definitely sits well in today’s world.  Was this inspired by anything in particular?

It pretty much came out of a conversation we had as we were sitting with the beat, listening, and trying to come up with a concept.  It sort of goes along with what we were trying to communicate with the title of the entire season, ’Who Cares if We’re Dope?’  I think people get so caught up in fulfilling certain expectations that others set for them that they forget about accomplishing what they initially set out to do themselves as artists.  You’re never gonna be able to please everyone all the time, even if you’re Steven Spielberg.  There’s got to be a point where you just say, ’Are we making this to please other people or are we trying to make discoveries within ourselves and incorporating this creatively with our music?’  Of course we want our fans to be satisfied with what we put out, and we never want to be selfish as artists and completely turn a blind eye on what people want to hear, but I think it’s important to stay focused on creating the best possible product you are capable of.  Set your own mission, realize it, and the rest will follow.

As far as ’Cool Don’t Exist’, we were just talking about how there’s such a preoccupation with being ’cool’ and ’hip’, and what did this even mean anymore?  Isn’t being cool just being yourself and being confident in that?  To us, trying too hard to be cool is almost uncool.  So we decided to flip the whole idea on its head and make a statement for people to make up their own minds about.  Just put it out there and see how people take it.  This way we’re saying, ’We don’t think we’re too cool, ’cause cool just doesn’t exist anymore.  People have ruined it by making it something to strive for rather than it being a result of what you’re doing and who you are as an artist.’

Does using only one producer encourage more cohesion, even though these songs are all so totally different?

I think it definitely translates into more cohesion for the listener, because even though each track does have its own distinct sound, there are definitely trademarks of that individual producer running throughout each one that ties them together.  Each producer has their own instincts and what they like to do with music in their own distinct way that identifies them and distinguishes them as individual artists.  I really enjoy what it allows for with each release because one of the challenges of releasing a full album that includes an array of different producers is deciding which order of tracks is going to allow for the most cohesion due to the different musical nature of each producer.  This way it’s a much simpler process and allows each specific producer to be identified on each release rather than a listener having to turn over the album’s front cover to look for who produced which track, which only the really die-hard hip-hop heads do anyway.  I think it’s better for all parties involved. 

What was it about Touchphonics that made you want to work with him on this EP?

We have known Touch for many, many years, more than a decade now, and are signed to his label ’Elevated Press Records’.  He has been a contributor to our music for all of our albums so far, and it was just an inevitable conclusion that he be part of this project.  He is a very gifted producer and takes things in directions that I think are unpredictable, which is a great asset to have as an artist.  He takes the raw essence of what makes a traditional hip-hop beat dope and puts his own unique spin on it that makes it totally modern yet still accessible to the hip-hop fans that yearn for the classic sound of old.

I think he also challenges us as MC’s; his beats force us to consider new ways of approaching songs lyrically, and allows us to make discoveries that we might not have made had we not been presented with those particular beats.  Obviously with ’Tear the Moon Down’, it allowed us to go in a direction we had never gone before, and take a musical risk that would allow us to gravitate to fans of another genre that might not be aware of us as a group.  All of the beats on this EP presented us with challenges and led to each one being about something completely different.  That left us really satisfied as artists.

 How does your creative process differ when it comes to writing and recording?

Our writing process involves us sitting down with each beat and listening to it for as long as we have to in order to try to find some sense of direction.  Usually it starts with a hook, maybe even just the melody, and building off that.  Sometimes we will come up with a concept and use that to springboard off of.  The beat is what fuels the whole process though.  When we are writing our verses, we don’t like to rush the process; we allow it to take as long as it has to, putting them through multiple editing sessions.  We also like to bounce ideas off each other, and make suggestions, offering constructive criticism.  We have definitely moved past that whole phase of a group where the individual members are just trying to ’do them’ and not be responsive to what someone else has to say.  That is not the way a group structure works.  There needs to be a balance and mutual respect of one another for the whole thing to work and come together with ease.  Otherwise it’s just a bunch of different people making music with each other, not one focused unit of artists truly working together. 

The recording process involves one of us in the booth and one of us at the controls.  We spit our verses until they sound completely solid, no matter how many times it takes.  We are perfectionists when it comes to that; we don’t like to settle for subpar material.  Might as well take the time to make it right.  The one manning ’the boards’, so to speak, AKA ProTools, will offer suggestions which the one spitting their verse can take as they please.  We just like to keep an open air of advice.  It doesn’t always have to be right, just open to consideration.  This creates the most positive recording atmosphere.  Also, we are always open to unexpected moments of inspiration.  A different way of doing a hook, or cutting a few words from a line to make tighter, all of these are open to possibility.  We like to try lots of different things, not all of which end up on the actual track; it just allows us to exhaust every opportunity to make the best possible song we can.   

 If you could use one song from this EP to summarize what The Aztext are about as lyricists  and which you feel represents you to the fullest, which one would it be and why?

I would have to say ‘Till the AM’.  The song itself is about a night of partying where nothing else matters, and all that you focus on is the moment and the good time you are having.  While I am not saying that this is specifically what represents us as lyricists, the idea of taking even a concept like this and trying to make it lyrically challenging with intricate wordplay is what we are all about.  We are never going to sell ourselves short no matter what the concept is, and this in particular is a track where we could have taken a more relaxed approach and just focused more on a party flow, with lyrical dexterity being secondary, but instead we chose to make it as lyrically rich as any of the tracks on the EP.  Also, each of our verses focuses on the two different sides of a night of partying.  Mine presents a picture of the feeling you are having while you are in the midst of these moments, caught up in the euphoria you are experiencing, but with the inevitability of the sun coming up and the night being forced to end, left only with memories (if you are that lucky), while Pro’s is more about getting older and attempting to have nights like this, and how it differs from when you were in college and could do it all the time with less repercussions in the morning, but how it is still necessary to do from time-to-time in order to get all your stress out of your system.  This is the advantage of having two lyricists in a group, the idea of being able to offer two different perspectives on the same topic. 

Do you have one track (can be by any artist/any genre) that you wish you could have been a part of (either performing or writing)?

Black Moon’s track ‘Who Got Da Props?’ is a song I would really have enjoyed being a part of.  The beat alone brings me to a place and time in hip-hop that I miss incredibly.  It is the essence of hypeness.  Da Beatminerz were just very aware of what makes a hip-hop beat dope, and they could make both the slower head-nodders and the faster, up-tempo hype beats that made the early 90’s so raw and live.  Also the way Buckshot flows on the beat is the essence of that B-Boy era way of flowing, where the rhymes are clever but not too wordy, and the timing is so on-point that he just rides the beat perfectly.  Due to the way that song makes me feel when I hear it and the nostalgia it conjures up in me, I would have loved to have been able to have a verse on it, and have been part of the creating of it.

We featured their track, I Make Records last week on the site and to be honest it only seems fair that we interviewed the duo responsible for the track that was constantly playing in the music HQ of thestreetsavvy. You know we like to allow our readers the chance to familiarize themselves with the folks who make our feet tap and our heads nod.

The Aztext are pretty much a couple of fellas on a mission, having released their recent EP Who Cares If We're Dope Volume 2 (we care by the way or you wouldn't be on here right now) the school friends who have adopted Burlington, Vermont as their home are keen to permeate more than our ears with their sounds. And by the looks of things they are doing a damn good job so far.

We might have put them on the spot with a couple of our questions but hey, have to keep them on their toes, and with their responses their is defintely no pulling the wool over their eyes. Here's to introducing The Aztext.

How did you guys meet?

Learic and I met in high school.  At the time, Learic was part of a hip hop crew called Subliminal Messages that was opening for groups like Black Moon, De La Soul, Spearhead and others.  We'd freestyle and record onto tapes over industry beats.  Following high school, Learic went to NYC and I went to Rhode Island.
Five years later we both opened as solo artists  for The Loyalists album release party and we realized that together we could be more successful then on our own.  We decided to move back to Vermont and hit the studio hard.  Six months later, we put out 'Haven't You Heard?'

Who has influenced you when it comes to your music and why?

We both pull from a lot of influences ranging from The Beatles to Rakim… from James Brown to Jay Z.  We both grew up musical.  Pro played the drums in punk and hardcore bands, while Learic was the front man in experimental live hip hop groups.  We hope to incorporate more and more of our influences in upcoming projects by working with a wide variety of producers.

You come from Vermont, does Vermont have a big Hip-Hop scene?

We actually do not come from Vermont, but we are proud as hell to be here.  Learic grew up in Washington DC and I grew up on Montreal.  We both moved to Vermont right before high school, left and came back.  But, yes, Vermont does have a hip hop scene.  There are monthly battles which draw upwards of 25 MCs, and some incredible breakers (Big ups to the Rhythm Riderz!).  DJs A-Dog and Nastee have experienced international success for DJing/production, while MCs BurntMD and Fattie B (Belizbeha) have toured the country with many super stars.

Is location important when it comes to progress?

Not really.  Before Atmosphere, Minneapolis was not viewed as a hip hop hot spot, but look at it now!  Many successful artists rep Minneapolis and are not questioned about their hometowns.  You can say that about many cities… St. Louis, Houston, New Orleans etc. They all needed that one group to emerge to expose the rest of the scene.  In fact, if anything being in Vermont has helped us. We have opened for Snoop, Lupe Fiasco and many other major label acts that we might not have been able to had we been somewhere else.

What do you look for in a producer when selecting who you want to work with?

We look for someone who works hard and takes their music seriously.  One thing we feel our albums have never lacked is dope production. We have had the good fortune of working with some of the most talented producers in hip hop, most of which who have yet to be 'discovered'.  With our new Season concept we hope to work with a wide variety of producers, both hip hop and other, so we can take some risks with our sound. 

Top 5 dead or alive producers?

DJ Premier
RZA
Dr. Dre
Pete Rock
J Dilla

Who are you working with on up and coming projects?

Our next two Episodes in Season One feature XPL and Dub Sonata.  Next season we have some major surprises in store which include Episodes with Illmind and Shuko. 
Aside from our EPs, we will be featured on producer albums for E Train, the Soulslicers and Whatson which will be released over the next few months.


If you weren’t doing this, what would you be doing?

Going crazy.  Music is very important to me, and without it I would not have balance in my life.  Two years ago we weren't in the studio very much and I began writing a book, and started making beats.  Both of these things helped very much, and I have continued working on these side projects. 

Has money devalued Hip-Hop music in your opinion?

No, hip hop as a genre was bound to make money, and it's a good thing that hip hop artists can survive off what they love doing.  The problem is when MCs/Producers approach hip hop solely for the goal of making money.  That is a situation where the music might suffer at the expense of money.  While making money would be an incredible side effect for any artist, the goal should be to make great music.


Jon Bon Jovi recently spoke out about Steve Jobs, saying the Apple boss is killing music. Would you agree with that statement or not as Hip-Hop has really suffered with the MP3 boom?

This is a tough question for us, because we grew up buying the 'jackets' (physical albums) that Bon Jovi is talking about, but we have emerged as artists in the MP3 world.  Steve Jobs has not killed music, but MP3s have changed the industry a great deal.  Music is available in such abundance, and so quickly, to stay relevant takes a whole different strategy.  We are experimenting with a balance of staying relevant, while releasing quality EPs on a consistent basis with our new Season concept.  


What do you believe it takes to be a successful music artist today?

It depends on how you define success.  If success is defined as money and fame, it takes a ton of talent/creativity/hard work or a ton of luck/connections.  To rise up organically in 2011 without connections, you have to have something REALLY special to offer your live shows and recordings.  If success is defined as making music that you enjoy listening to and are proud of, it takes being honest on your records.  That sounds like an easy task, but it is not always easy to find yourself in your art.

http://www.thestreetsavvy.com/features/Soundchildren-The-Aztext