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BIG NOYD RETURNS WITH “ILLUSTRIOUS” NEW ALBUM

By Khalid Strickland a.k.a. Dirty Angel

Don’t avoid the Noyd…

Although he’s a seasoned veteran in the hip-hop game, rapper Big Noyd is just as driven now as he was when he debuted on Mobb Deep’s classic album, “The Infamous”, in 1995 (actually, he was also on their very first LP, “Juvenille Hell”, in ’93. But “Infamous” was Mobb’s true breakout album). Noyd’s memorable verse on the song “Give Up The Goods” catapulted the Queensbridge rapper into stardom and earned him his first solo record deal. He would go on to release three well-received solo albums and contribute verses to all but one of Mobb Deep’s LPs. Noyd’s latest album, “Illustrious”, is in stores right now, courtesy of Koch Records. The album is executive-produced by Lil’ Fame (of everyone’s favorite Brownsville duo, M.O.P.) and features fierce lyricist Joell Ortiz, R&B siren Kira and reggae artist Serani.

Being that I’m a lover of hardcore, street-saturated lyrics and brass-knuckled beats, I really enjoyed “Illustrious”. Lil’ Fame, who also goes by the moniker Fizzy Womack, shows versatility throughout the four tracks he produced for the album. From the laid-back, bass-heavy “Things Done Changed” to the kinetic, smack-you-in-the-face beat on “Back Up In This B***h”, Fame’s full repertoire is on display. You can tell Fizzy paid close attention to DJ Premier during their many studio sessions. Other producers on “Illustrious” include Ric Rude, Street Radio and Prince & Machavelli.

I hooked up with Big Noyd at Koch Records and kicked it with him about his latest project, Mobb Deep’s G-Unit affiliation and his thoughts on the current state of hip-hop music.

Dirty Angel: You’ve been in the game for some time now. You’ve got a lot of memorable verses on a lot of memorable albums. What’s “Illustrious” going to add to the Big Noyd catalog?

Big Noyd: This one right here is pretty new because I was working with Fame from M.O.P., so that alone… just the production alone… is out of my element. It’s not the Mobb Deep sound; the Queensbridge sound. I mean, it’s still that gritty, struggle hip-hop, but just that alone… it’s a different sound. And working with Fame is good ‘cause it’s just a lot of energy. I knew him for a while, but I never really did music with him. So I got to know him as a person and he’s a cool dude, so that’s one of the basic different things from my last LP.

Angel: What do you hope to accomplish with “Illustrious”, whether that’s finally, artistically or whatever?

Noyd: Well, definitely artistically… because like I said, it’s a different sound. So this way I can carry on for at least another two albums before I start working with other artists. Hopefully this will make enough noise to carry me to be able to put out an artist in the next year and a half or something like that. This way, they appreciate this music and see where I’m going with it for the future.

Angel: So why’d you choose to work with Lil’ Fame? How’d that collaboration come about?

Noyd: Actually, Koch got a studio… actually, Bob Perry… in Brooklyn. And I did one song with (Fame). It came out so hot it was like, “Yo, let’s do a couple of more joints”. Then before you know it, we was like eight songs in already. So it actually just happened.

Angel: Hop-hop fans tend to have short-term memories at times. Do you feel a need to re-introduce yourself to the audience out there now?

Noyd: Even if I didn’t have to, I want to ‘cause it’s a different sound; it’s a different Noyd from the first time I came out with some music. I’m a little older now. So I want to come out like a brand new artist in a sense. I know the industry, they know me, but the fans done changed by now from them hits I’ve been on; the stuff I did with Mobb Deep, the stuff I did with 50 (Cent) before he even blew up. They probably don’t even know I was on them songs… the people that listen to 105 (FM) or BET; they probably wouldn’t even recognize me from that, so… it’s kind of cool to come out as a new artist. I got the insight in the industry as being in the game for a while. But as far as the fans, a lot of them don’t even know who I am at this point.

Angel: Since your career began, technology changed. The way people listen to their music, the way people get their music is different than before. There’s an even wider audience around the world. Are there any differences as to how you approach making an album now, as opposed to how you used to make them when your career began?

Noyd: Not really, man. ‘Cause all I do is eat (and) sleep rap. You know what I mean? Like, when I’m not even working on an album I’m in the studio. So basically I just hear a new beat, hear something I like… the best part is working with producers even they’re known or not known, just the sound alone. Basically for me making an album is all the same. I just get up, do like 30 songs, pick the best 15 out of them 30… put some skits together.

Angel: You’ve got a lot of memorable verses and my favorite in particular is the one “Streets Raised Me” on (Mobb Deep’s) Murda Muzik. “This is something you feel, n***a, like the theme song from ‘ Hill Street Blues’ / This is real, this is ill street news…” What was poppin’ off with you at the time, man? What inspired you to lay that verse down because that s**t was tough.

Noyd: A lot of people from the hood thought I was talking about Havoc’s brother because at that time he committed suicide, and he had a little sister that he left behind. But it was some of that in there, but it wasn’t particularly about him. It’s just that was what was going on at the time. If you listen to that album, that album’s kind of dark. ‘Cause there was a lot of stuff going on with Havoc’s brother and stuff like that, but that’s just what I was feeling at the time. It wasn’t nothing particular, but that was just the vibe at the time.

Angel: Did Mobb Deep’s G-Unit affiliation trickle down to you in any way? Did the affiliation with G-Unit ever help you or did it not affect you at all?

Noyd: Nah, it ain’t affect me at all. I got a lot of people who hit me up on the MySpace and the web, like, “Why you not on (Mobb Deep’s G-Unit produced album) Blood Money” and this kind of thing. But a lot of people don’t know that even before they got with G-Unit, Mobb Deep was in a situation (where) they was kind of hurtin’. They put out an album with Jive, I believe, that didn’t do well. Everybody was standing on their own two at that time; Everybody doing what they got to do to eat, feed they family and deal. When we was able to come back to the table, we do what we got to do. So, that’s where we at now, you know what I mean? I didn’t make the G-Unit album because I was out doing certain things. And plus, 50’s a businessman. I guess he looks at it like, “Why put Noyd on this album that may go platinum, he’s not signed to G-Unit. Yeah, he gets on this verse blowin’ up on a Mobb Deep song, here he go getting a situation somewhere else on the strength of G-Unit. He’s not signing no papers”. Which I respect… its business. But I didn’t take nothing personal, like… Mobb Deep is family before rap; ain’t got nothing to do with rap. We used to share the same crib for five years. His mother and my mother is family. So the fans may look at it like, “Why you not on Blood Money”, but our relationship goes way further than that, so it’s nothing.

Angel: Speaking of Mobb Deep, Prodigy’s going to be serving his 3 & ½ year bid (for gun possession) soon. You’ve paid debts to society in your lifetime as well. Do you think there’s any way Prodigy could work this bid to his advantage?

Noyd: Yeah, definitely, man. Because first of all, his health; he’s not going to be in the street running around drinking, doing a lot of smoking and stuff that he’s usually doing. You know, getting the proper rest that he’s going to be able to get. Just hopefully, man, knowledge wise… just picking up some more books than he probably would do being in the streets. Getting more knowledge and coming out a better man hopefully. It’s easier said than done ‘cause once you get in there, there’s no telling what could happen. It’s a whole ‘nother world in there, you know what I mean? But, there is a chance where he could not get in with the crowd that don’t got nothing to live for. Even though he’ll be in there for a minute, but I still believe his career as an artist…. He’s still got a chance to do his thing. Like you said, he’s been in the game for a minute and he’s a legend almost, already. So, I think he can use it to his advantage, come out and write a lot more rhymes. He might have the tracks, the beats and stuff like that, but he still got music. He still can send some kind of music to the streets, so hopefully he can use that time to better himself.

Angel: So will you do more acting in the future? We saw you play the lead in “Murda Muzik: The Movie”. Is that a passion of yours as well?

Noyd: Hopefully, I enjoyed it a lot, making the “Murda Muzik” movie. That’s the first script I ever really did. It was really easy for me ‘cause it was close to home. If I was to do something I’d like to do something out of my element, like playing a crackhead (laughs)… something that’s completely not me, you know? Just to see if I’m capable of doing it, show the skills. Hopefully something will present itself.

Angel: As an artist who’s been in the game as long as you have, are you satisfied with the way things are going in the hip-hop industry… business-wise and artistically?

Noyd: You know what, man? A lot of people (saying) hip-hop’s dead and all that, man, but I don’t knock what’s going on now. It’s just a different element at this point with rap, know what I mean? A lot of songs come out now, you hear it, you got to dance to it. That’s not me, but I enjoy it too. You’re not going to catch me doing it as an artist, but when I go to the clubs I enjoy that music. It’s all good, you know what I mean? I got a daughter that’s nine, she likes music that’s on radio and that makes me like it. So it’s all good, I don’t mind, man. As long as we can keep it real, it won’t be like disco at one point, when rap is just completely over. Hopefully that will never happen. If there’s something that we’re doing wrong now, that it might become that, hopefully we can change that now ‘cause rap needs to stay around forever. ‘Cause it’s more than just music, it’s hip-hop, you know what I mean? It’s graffiti, it’s a style of clothes, it’s a style of life… being. So hopefully it’ll only get better.

Angel: At the very end, when all is said and done; whenever you decide to hang up your mic and people look back at your extensive catalog, what do you want people to say about Big Noyd?

Noyd: Hopefully, it goes on beyond being an artist. I’ll be able to turn into a businessman. Not only that he rapped, he had ill verses, he’s a cool person. And one of the things that I shine more… I don’t suck as a lyricist, don’t get it twisted. But my element is more performing on-stage, that’s what I bring to the table of hip-hop. Like, I’m a performer more than anything. So hopefully people respect the shows when they come out; I give good energy. And then (they’ll) like the music but hopefully they’ll see me grow from just, “He came all the way from the hood in Queensbridge and made something out of nothing. He became an artist to this entrepreneur” and get it poppin’. Hopefully I can get another artist and give back and just keep it going.

For music & info on Big Noyd visit www.myspace.com/therealbignoyd.

For more stories & work by Dirty angel visit www.supremearsenal.com and www.myspace.com/blackpacino.

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Is Hip-Hop Dead? If yes, explain. If no, explain:

No. Music, in all its forms, is constantly in a flux. Whether it be traditional folk songs that change slightly over the years as different people play/sing them, or Hip Hop as it goes from rhyming over breaks with a DJ, to full-on studio production with all kinds of sources for sound/expression. New artists in a genre either, just make the status quo, or they can push the boundaries and inspire both younger artists and maybe established artists who haven’t heard this new sh*t ! I think that Hip Hop is still growing and expanding what really can be defined as Hip Hop. 10 years ago, a lot of people were splitting Hip Hop into sub genres ; East Coast, West Coast, Southern Crunk, Trip Hop, Experimental Rap, Jungle, Nerd Rap, Independent, Commercial, Instrumental, etc.. This annoys people, I know, but it’s a sign of progress. Rock & Roll has spawned many sub-genres over the years, from Pop Rock to Scandinavian Death Metal, and while you can’t really put those two forms next to each other and expect them to get along, they share the same Granddaddy. Hip Hop will be the core of so many sub genres eventually that this question will end up being irrelevant. But the Nas song is still good!

What is your vision of Hip Hop’s future?

Lots of different styles will just keep coming out, but I think that the reputation of the LIVE show will really change, and it could really make an impact. I’ve heard so many opinions on live shows in general, and most people don’t talk about hip hop shows as the best they’ve seen in years past. Obviously, a genre fan will always be the exception. I think as hip hop’s grows, the good artists will age well, and their songs will become classics known by a large fan base. Hopefully it can get more people to raise their expectations of the live hip hop show, and motivate the genre to bring all the creativity and ideas from the studio to the stage.

Do you listen to other forms of music outside of Hip Hop, if yes WHAT?

I listen to so much music, the best way to sum it up is, practically everything except Country, Bluegrass and Opera. I grew up DJing, so I’ve always been open to what moves a crowd, and what keeps the mood chill. I do love Rap/hip hop and Metal a bit more than most, but I’m always switching up what I’m listening to. I can’t just rock to same sh*t over and over. Well, if I’m writing, I’ll listen to the track all day, but, that’s different.

Who were your artistic/musical influences growing up?

My friends who started doing music in high school became a real big influence to me. Growing up on an Island like the Vineyard, these were the people I saw in person writing and performing. KaeoFLUX, B-line, Junkyard, Spoon! These were the dudes inspiring me the most. As far as the big guys ; Wu-Tang, Company Flow, PJ Harvey, Metallica, Pantera, Tribe, Aesop Rock, 2Pac, Portishead, Nirvana, DJ Shadow, Cypress Hill, Rage Against the Machine, the Scratch Pickles and turntablists world wide, Biggie, Hendrix, Zeppelin… A lot.

What is your music background?

I started playing the Alto Saxophone when I was 10, and did the school band thing till sophomore year. I then started DJing when I was 12, and started rhyming and producing when I was like 15 or 16. I started playing the drums last year, and love it. I’m still sh*tty, but it’s the most fun I’ve ever had playing anything.

How do you describe your music to people?

I tell ‘em I make Rap Music. If they ask, I usually just say that it’s heavy, a bit different, and I describe my lyrics as “word paint”. Most times, I try to write what the beat and music makes me feel, and try to relate an emotion or situation that reflects that.

What image do you think your music conveys?

I hope that it conveys my emotional attachment to the song. In other words, I hope that the listener is at least seeing what I’m seeing when I close my eyes and hear the music. They may draw different conclusions, and maybe they don’t like what they see, but getting them to see the same image I see, that’s all I could hope for. I think that’s one of the most impressive qualities of music, and life; Beauty is in the eye of the beholder.

What’s your outlook on the record industry today?

That’s tough for me to answer. The internet, and communication industry on a whole, has really shaken things up. More then ever, touring is the way to get paid. CD sales may have only dipped slightly for the mega-star, but for the rest, and majority of people making music, signed or unsigned, the net is promo and shows are money. CDs are like stickers and flyers. This isn’t necessarily a bad thing, but it’s impacted the industry in a big way. We’ll have to see. Either, there will be more and more small independent companies rising, or we’ll have a monopolized entity like VirginBrothers Inc. or something.

What inspires you to do what you do?

Life man! Anything can get me to write, or play. I can’t really describe the feeling I get when I need to write, but I think that when I feel strongly about something, or when I experience something, I feel I have to write. The more I’m home, doing nothing but the mundane, the less I get inspired to write. The more I go out, the more I breathe the world, the more inspired I get.

What project or projects are you currently working on? When will they be released?

I’m going to release the Askance EP this year. 8 tracks, with the majority of production done by KaeoFLUX, and guest production by Take 7. FLUX is just as important to this release as I am. More so probably. He convinced me to do a solo project, and has always created music that I can’t help but write to. I’m writing some new stuff that is still in early form, but I don’t know when that will be done. I also plan to work with A.M Breakups, out of New York, in the near future.

If you had an opportunity to collaborate with ANY artist or artists (dead or alive) in ANY genre of music/art, who would you choose? And why?

Damn. I never really thought about that. I mean, just picking one of so many. But, if there’s to be only one, then it has to be Wu-tang. As an emcee, I don’t know if another collective group influenced me more. Company Flow is really close behind, especially considering what El-P has done since, but it has to be the Wu. Me as the drummer however, that would probably be PJ Harvey.

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Interview by C73

Is Hip-Hop Dead? If yes, explain. If no, explain:

After the term was put out there I used to think it was, but the more I analyzed what was going on, it’s fine. What is dead in my opinion is talent, or the lack of talent being recognized. You gotta “grease somebody’s pole”, to get on. It’s sad when originality is considered wack and biting is part of what hip hop does; when it wasn’t about that, when the God fathers started it.

What is your vision of Hip Hop’s future?

Hip Hop is in a destroy/rebuild phase. Being that the music is so young compared to other genres; I see it going the way of rock and roll where now we are getting different types of music from the same foundation. In a few more years everyone is going to have their own lane or place in Hip Hops’ sub genres (ex. Underground, Southern Bounce, Horrorcore, Emo, etc). Artists, better get your live show on point tho’ ‘cause music is free now.

Do you listen to other forms of music outside of Hip Hop, if yes WHAT?

I used to listen to Rock and Death Metal, I vibe out to Soul mostly.

Who were your artistic/musical influences growing up?

Kool Moe Dee, Rakim, Nas, Mobb Deep, Da Youngstas and Shyheim are big reasons why I rap today. BCC, Wu, The Hiero Crew, Krs-1, DITC, Pete Rock and many more (you know all the typical influences).

What is your music background?

I just rap and occasionally make beats, I pretty much learned everything I know now on my own; music is beautiful like that sometimes.

How do you describe your music to people?

My music is real, it’s me. Nothing is really exaggerated beside the typical ego rap. Its music I personally like to listen to so, it is made it that way

What image do you think your music conveys?

It depends on the song honestly. Every joint is a different picture. One day I may want to talk about an ex-girlfriend, the next time I write I might talk about having fun at the bar, and the next time I might have no set plan to what’s goin’ on the page and just spit out random thoughts. I may have a grand vision for what I do but it’s up to the listener to interpret the concepts and ideas in their own way.

What’s your outlook on the record industry today?

The record industry is in a transition period. Artists are realizing they don’t need labels to get on. Labels are making the artist do everything now before they give them a contract. No company is trying to actively make an artist unless they are already established. I see digital media becoming the norm and these companies just putting stock in websites that they have investments in.

What inspires you to do what you do?

When someone comes up to me I don’t know and tells me I’m dope, other musicians, and life in general.

What project or projects are you currently working on? When will they be released?

I just released my album “Zombie Skool” which can be bought physically through my MySpace page (www.myspace.com/shinobistalin) or www.cdbaby.com/shinobistalin and digitally on itunes, Amazon, and Rhapsody. I am working on the next album “The Invisible Man” which will be finished when… I finish it ha-ha. The Vets of Kin mixtape (some old tracks we never put out will be out soon). J Biz and I are working on an album together. The BeatMinistry Vol 2 compilation is underway.

If you had an opportunity to collaborate with ANY artist or artists (dead or alive) in ANY genre of music/art, who would you choose? And why?

In the Hip Hop realm I would probably go with Primo and Pete Rock. Their production has had such a strong impact on my musical makeup. As an emcee there are not too many producers that artist want to work with. Personally, these two guys are the greatest at the sound I like. Rappers to collab with, I would have to say I would have loved to do a joint with Big L (RIP). As a youngster I always wanted to do a song with Shyheim and A+ and name it “Generation Next” but, that was like 13 years ago ha-ha. Buckshot is definitely up there on the list with Nas.

To hear and purchase Shinobi Stalin’s epic debut “Zombie Skool”, check out:

www.myspace.com/shinobistalin

www.cdbaby.com/shinobistalin

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interview -CyPhEr777 (C73)

Is Hip-Hop Dead? If yes, explain. If no, explain:

Is that a trick question? Cause you can take that question on many different levels. I will start by saying this; there is no more “Yo! MTV Raps” no more “Rap City” which became “Rap Sh*tty”. Viacom owns every video network and it seems like the art stopped being art a long time ago. Corporate America ate us up and sh*t us out. Kind of like the way we used to sample records; take this and that but f*ck the rest of it. Don’t lie, some of us wouldn’t even put the records back in the sleeve. Unknowingly we made art out of raping artist so corporate America was like oohh sh*t this is a working class revolution once we give these kids money it will destroy itself. You got to admit Hip-hop put a lot of trained musicians out of work in the 80′s and 90′s ‘cause they rebelled against electronic instruments and we embraced them. So now, R&B, Jazz, Pop got our breaks powering their songs. Hip-Hop will live forever but the Hip-Hop Industry Is Dead. It died the day they made rapping more important than the other elements. What do you think? I mean there’s been so many bullsh*t records and songs, I think people are over it. Hip-Hop’s golden format: Cassette (who even knows what the f*ck a tape is?).

What is your vision of Hip Hop’s future?

The future is the past; house parties and people feeling good about expressing themselves. The other night I was a judge at a $500 emcee battle at Rhyme Lab (an up and coming spot in Escondido, Ca). It was getting real ill, then a fight broke out and the club got shut down and there were two rounds left. One of the emcees said “split the money, split the money” but, the promoter Ponder One did something that made me smile. He took the battle next door to the taco shop. So when I got around the corner at 1am there was 100+ people waiting for the battle and that’s not the crazy part. The battle started again acapella .We were behind a dumpster in a dirt field next to a gully with bamboo. Yo! Half way through it, 8 cop cars and 10 cops surrounded us. People were about to start running but everyone stood still. Ponder told the cops it was a freestyle rap battle and the cops said ohhh!, we can finish and left as the battle continued. Everyone was happy and confused like “what the f*ck!”; people started crying cause we knew that Hip-Hop was alive. It was like starting all over again.

Do you listen to other forms of music outside of Hip Hop, if yes WHAT?

Hip-Hop is my gateway drug into the electronic audio arts. I’m a lover of DUB. Did you know Lee Scratch Perry invented multi tracking out of necessity? Real sh*t. My favorite dance music is Raga Jungle and Drum and Bass which is two different art forms. I’m writing a lot of Dubstep production and I love Glitch-hop, UK Grime, Downtempo, Future Roots, FSTZ created Synth-hop in 2004 and I can dig it. I listen to BBC 1 extra shows, dubstepfm.com basically the sickest sh*t available for my eardrums. I actually search for good music it, doesn’t fall into your lap anymore.

Who were your artistic/musical influences growing up?

Bill Laswell, Rick Ruben, Divine Styler, Native Tongues, Jimmy Hendrix, Miles Davis, Thelonious Monk, John Coltrane, David Axelrod, Jhon Klemmer, etc… Not much hip-hop but, the building blocks of hip-hop. When I first started producing music, people were throwing away vinyl collections for CD’s so I came up f*cking hardcore and I actually listened to the records.

What is your music background?

I’m happy and lucky to be an African in America. I didn’t have to learn music at all, it’s in my DNA. All of my first memories are music based. All the records that you hear in Hip-Hop, my mom would play on Sundays. I would love Sunday ‘cause church for me was my mom cleaning the house all day playing Fela, P-Funk, Gil Scott, Last Poets. My family was and is proud to be black so I was raised on the soundtrack to revolution. Music means a lot to many world cultures but for the African (Black) experience in America it means everything. Think about it.

How do you describe your music to people?

Man! Wow! I haven’t done that in a while because people usually tell me what my art has done for them or how it made them feel. Or how it allowed them to cope with life. On my MySpace page it say’s “An original approach to a dying art form” and that is true and real. I have always made Hip-Hop with no template. Anyone who never gave back a style, a beat or anything original to Hip-Hop helped kill it. They say imitation is the best form of flattery but, mockery is the best way to destroy something pure. Back in the day I would tell people that I sound like Kool Keith rapping over Portishead, then he dropped “Dr. Octagon” and I stopped saying that.

What image do you think your music conveys?

A spaceship, Mars on earth, a dirty old ghetto blaster being sucked into a black hole, Africanism, Destruction, Love, A beautiful painting of something destructive, Nephlim, Anunnaki, Nibiru-Planet X, Togetherness, all things truly Hip-Hop, a rave in 1991, a massive in 1994. The beginning and the end of sound.

What’s your outlook on the record industry today?

Money first, art tenth. I would say second but you’ve got marketing and promotion fighting for that position. I’ve seen a lot so, like people that have seen a lot I’m jaded. Do I think there are labels trying to make money off good music? Yes. I think it’s about artist selling their own music. Distribution outlets are dying everyday. If you go digital you save a lot of money and time. Hip-Hop lives online because the internet is new and needed. What would we do without it? We would be completely crushed or silenced without it (real heads). Sell your own music. Sell your own music! Make it good; make it compete with industry garbage that is sonically superior. We will learn and we will win. It’s funny that underground isn’t that underground anymore. I’m happy I didn’t sell out and so are my peers and fans. Look there are only 2 record labels left (majors) and no distribution and they’re not signing nobody so, do your own thing take it to the streets and to your community.

What inspires you to do what you do?

RA, Jah Rastafari, Yahweh Eloheim Allah, Buddha, Krishna. Also traveling, meeting new people, reaching goals, So called fine art, life my crazy life, my daughters, friends, foes, rivals, Hip-Hop, Robotech, a lot of nerdy sh*t, Sci-fi, the African experience in America.

What project or projects are you currently working on? When will they be released?

I have many records about to drop. Two older ill Orko records, The Metamorphysis and Forbidden Physics are dropping first. I have a free album called The Class of 1994 which is an autobiographical record about my four years in high school. A lot of people may not know or may know that I have changed my name to Chakra Zulu so; I have a lot of records recorded under that name. Kunta Kente in Outterspace is the first record and Chackra Zulu self titled is the second. I have recorded about 10 vocal albums and 7 instrumental albums since my last solo record, Atoms of Eden in 2004. I have been doing a lot of traveling and recording collaborations with Nephlim Modulation System, Left Handed Scientist, Ras-G, Thavius Beck but, mostly Drum & Bass, Jungle and Dubstep is my focus. I don’t see myself doing a 100% Hip-Hop record ever again cause that era is over. I will always be an emcee. Hip-Hop went one way and I went the other way but, we meet up every now and then on the dance floor. Go to www.myspace.com/orkoalieneloheim or drumwarz@gmail.com for albums and booking.

If you had an opportunity to collaborate with ANY artist or artists (dead or alive) in ANY genre of music/art, who would you choose? And why?

Amon Tobin just because I had the best mushroom trip ever listening to Supermodifide on New Years 1999/2000. Wooowooo! LOL! He was the reason I wanted to do records with Ninja Tune /Big Dada, because any label dropping and supporting music like that deserves my art. Jimmy Hendrix, Ravi Shankar, Fela, Miles Davis, Quincy Jones, Rick Ruben, Dwight York, BDP, Big Daddy Kane, Glitch Mob, Jungle Brothers, Axelrod, Bob Marley, Peter Tosh, Jacob Miller. There too many people I want to work with. I just want to have a big jam session at Chung King studios in NYC. I want to thank everyone at Insomniac magazine and Online. If you were crazy enuff to read this, bless your heart mind and soul and let’s continue to push boundaries with this art form.

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