Beats, Collab Dreams, and The Hawaiian Shirt Mafia – An interview with Jamal of SWIDT

SWIDT (See What I Did There) is on the rise. A 5 man Hip-Hop collective from Onehunga, Auckland, they enjoyed huge success with their début album ‘SmokeyGotBeatz Presents “SWIDT vs EVERYBODY”’ which was nominated for the “Critic’s Choice Award” and won the “Best Urban/Hip Hop” Album of the year at last year’s VNZMA.

They have just released ‘Close One’, the third instalment in a new 4 Part series focusing on the guys teenage years growing up in Onehunga.

The first instalment, Alfred & Church was produced by Tae Beast of Digi+Phonics (Kendrick Lamar, ScHoolboy Q). At the time of the interview, part 2 “Little Did She Know” was their latest release, a reflection of the trouble they would get up to behind their mothers’ backs.

In my first interview for Will Not Fade, I was lucky enough to have a quick chat with Jamal, a rapper/producer in the group that also includes producer SmokeyGotBeatz, rap duo SPYCC & INF and Boomer-Tha-GOD.

After connecting on how relatable “Little Did She Know” was (and reminiscing on the punishment when we got caught) we talked about SWIDT’s process for choosing a beat and theme for each track.

Jamal: We just sit there and go through each beat, and we only use the beats that everyone likes. Because we like to have a feeling, if one person’s not feeling it for a reason, then we don’t [use it], it’s not the one. Our main process is just getting together and vibing out, and the subject always come from how we’re feeling at the time.

Jayden: It must be so easy for you guys.

Jamal: I think it is, because we’re talking about ourselves, we’re not trying to be something else.

Jayden: You guys came up together right?

Jamal: Yeah, all of us grew up in the same hood. I met these guys later on down the track. These guys have known each other since the age of 4 or 5, and I met them when i was 16, we all went to the same school, all knew the same people. It was a connection that was too easy to not work with, we just banded together so easily. We weren’t even meant to be proper artists, but that’s how everything fell into place, and it just worked really well. We’ve been making music for years, it’s an organic thing that’s happened and we’re riding with it.

Jayden: Does it feel surreal, how fast you guys are blowing up?

Jamal: BRO. Hard out man. I’m still living normally, and I get family and friends coming up to me saying “You’re doing so well” and I’m like “Are we?” it just feels normal, we’re just trying to make music. Because we’ve been putting out music for so long, but we’re doing it as a crew now, and it’s getting a lot more recognition. We always sit back like “Man, this is cool!”

We talk about the 4 part series, and I compare it to drip feeding the mixtape that always comes before the album. He agrees, suggesting that it may be a first in New Zealand rap.

I grew up around music and wanting to do music, and like any budding artist I would dream about people I’d like to work with. So I’m always curious if already established artists feel the same way. The answer is obvious for Jamal: Kendrick Lamar.

Jamal: He’s at the pinnacle of his career right now, to work with him would be an experience.

Jayden: Imagine writing with him, just being in the studio, understanding his process.

Jamal: The way his music works, it’s not normal, it’s an actually well thought out process, there’s a reason why he’s making every song.

We discuss Kendrick’s new album Damn, and it’s ranking against his other albums. Jamal puts Damn in at 2nd, behind Good Kid, M.A.A.D City, which I strongly agree with.

Jamal: I’m a producer, and I put beats first, I’m not that great at understanding lyrics, and when I heard Good Kid, M.A.A.D City, I could listen to it from start to finish and not skip a song. That’s rare in albums these days.

Other dream collaborations were Prince and Andre 3000 (of Outkast). I though Andre 3000 was an interesting choice so I asked him to elaborate.

Jamal: Growing up, we really listened to music in the 2000’s, because we were born in the 90’s, Outkast and Dipset (The Diplomats). And it was cool because Outkast was a duo of rappers, and Dipset had rappers and producers, and we connected with that so well. Even to this day we still look at things the way they would. Like fashion, Dipset had the whole New York swagger, and we have the Hawaiian Shirts.

Remembering that they sometimes refer to themselves as The Hawaiian Shirt Mafia, I asked him about the colourful Pacific Island shirts they are often seen wearing.

Jamal: We’re pacific people, so why not show off pacific visuals to an audience that don’t understand why Islander people wear Hawaiian shirts. They’re mean colours, mean to wear, and I think they popping now. I’ve seen people releasing Hawaiian patterned clothing in popular stores like Hallensteins, and it’s crazy, we didn’t think they would pop, we just wanted to wear them because that was us.

But it’s true, pacific printed clothing is starting to trend again, and I commend him on the timely fashion choice.

SWIDT links:

Website: http://www.swidt.co.nz/

Facebook: https://www.facebook.com/swidtmusic/

Twitter: https://twitter.com/swidtmusic

Youtube: https://www.youtube.com/channel/UCFAaZ0SEDdG7QW9hyE436ZQ

Instagram: https://www.instagram.com/swidtmusic/

Vice feature: https://www.vice.com/en_nz/article/rappers-swidt-are-repping-a-fast-disappearing-suburban-auckland

Live Review and Gallery: Living Colour at the Auckland Powerstation

Living Colour 30th Anniversary Tour

w/ Heavy Metal Ninjas

Powerstation, Auckland

Thursday 11 May 2017

Money or music?

I faced a difficult decision a few years ago

I was a year into my university studies and hadn’t been able to find much work over the Summer break. I was in the process of opening up a student account at the bank for when I’d need the interest-free overdraft for the upcoming year. I had to take 11 weeks off work that year to do the teacher placements as part of my studies and I couldn’t see any way that I could afford to do that.

So of course AJ Maddah announced the lineup for that years Soundwave festival.

It wasn’t the big names that drew me in. Sure, I’d like to see them, but I didn’t see them as major drawcards. It was some of the lesser known bands that I reeeallly wanted to see. You know, the bands written in tiny writing at the bottom of the poster that you have to squint to read. Like my favourite band: Scottish trio Biffy Clyro. Or Arizona act Jimmy Eat World. Or funk rock titans Living Colour.

There was no way I could afford to attend Soundwave, but there were a few sideshows that could have been viable options.I had friends I could stay with in Melbourne. Biffy Clyro played at The Corner Hotel, where I’d seen hardcore legends Terror play a few years beforehand. Living Colour were to open for Alter Bridge at The Forum. Dipping into the $1000 course related costs I was entitled to became veeeeery tempting.

Financial reason won in the end. Sad face emoji. No trip to Melbourne, no seeing awesome bands.

Buuuuut, I have been fortunate enough to see those three bands since. All at the Auckland Powerstation. And tonight, Living Colour proved that they were worth the wait.

Heavy Metal Ninjas

Local quartet Heavy Metal Ninjas came onstage dressed very much like Kora, which isn’t too surprising seeing as the two bands share members. As well as rocking the samurai garb, the two guitarists and bass player all had half face masks that gave off a Kylo Ren vibe. Maybe the drummer didn’t get the memo regarding dress code, choosing to opt for a bogan Jesus look instead.

Their music was sharp technical metal, full of double kick drums, guitar noodling and djenty riffs. They took Steve Vai worship to the next level. I counted 22 strings between the three masked men. As for the drums… well you can never really have enough cymbals can you?

The hard-hitting sci-fi take on instrumental metal delivered blow after pummeling blow, strengthened by the regular inclusion of strong sub bass that made me want to vomit. I’ll give them points for making an impact, and the crowd lapped it up.

Living Colour

Living Colour last visited our shores in 1993. A few people in the audience were rocking t shirts from that tour tonight. I, however, was merely an infant at the time, being born in 1992.

Not that this made a difference. Being one of the younger people in attendance made me feel as if I was in on a special secret.

The band weren’t scared to add a handful of covers to their set; they both opened and closed with a cover, as well as interspersing them throughout the night. Their influences range far and wide: Robert Johnson, Notorious BIG, Junior Murvin, Elvis, The Clash. Both familiar yet new, the songs all worked seamlessly into the set.

Living Colour are well seasoned pros. Their abilities are phenomenal. I don’t say this lightly. They. Can. Play.

The way Corey Glover sung, you wouldn’t know that he has worked those vocal cords hard for over 30 years. Not only is his singing great, but he has such range. He can bark during the thrash numbers. He can scream – you know, rock star style – like in “Hey Jude”. He has speed. I swear that even though I was watching his lips move, my brain couldn’t keep up with how fast he was spitting out words in some songs. And of course, he can do sexy soulful. He wore a paint splattered denim suit with gingham shirt, tie and a feathered hat.

Doug Wimbish was the centre of attention, playing up for the cameras. He may be the newbie in the band, but you’d never pick it. His bass solo was one of the highlights of the night. He played a tune – great in its own right. Then using a looping pedal, he added upon the tune, jamming with himself. His joy was openly visible as he expanded the sound during his solo. He employed various pedals to change his tone – deep, rich bass, higher guitar tones, alien sounds. And if the music wasn’t enough, he started playing with his mouth too. It was a wonder to listen to as he masterfully played his instrument.

Drummer Will Calhoun was just as mesmerising. His two kick drums sported Australian art. The first with a picture of Ayers Rock and a kangaroo, and the second depicting the Aboriginal flag (which looked like a pokéball when cropped into a circle). Situated around him were his many signature drums, cymbals, electronic pads and a large corrugated Hammerax sheet cymbal.

The way he approaches his playing is so outside-the-square that I doubt I’ll ever see another drum solo quite like his. First of all, he’s lightning fast. Living Colour have their thrash metal moments, but I didn’t realise how frenetic a lot of the rest of their works are. And then there’s his experimental side. He discussed it with me when I interviewed him a few weeks back. He takes electric drums and messes with the sound just as a guitarist uses pedals and effects to affect their tone. And on top of all this talent and creativity, he is highly educated in the ways of drumming from cultures worldwide. For me, his drum solo was worth the price of admission alone.

Which leaves Vernon on guitar. The unsung hero. He played the joker, cracking funnies to wind up Corey. He bore the blame when the band made a few mistakes. He referred to himself as the nerd in a band of sexy people. But he is the man responsible for forming Living Colour. And his guitar work is damn amazing. Humbleness is a virtue, but Vernon Reid is more than deserving of an ego.

When you consider the talent, the showmanship, the vibrancy of each of these four men, and realise that Living Colour is more than the sum of its parts, you come to understand that this show is one of those truly amazing nights that surpassed even the wildest expectations. After 30 years, you’d expect them to know how to own a stage. Which they did. The jokes and banter was funny. The music was immersive and compelling. The musicians were genuine. And just to prove it, they all came and met with the fans to take photos and sign merch after the show.

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Living Colour links:

Website: http://www.livingcolour.com/

Facebook: https://www.facebook.com/LivingColour/

Twitter: https://twitter.com/LivingColour

Youtube: https://www.youtube.com/channel/UCBp5wftf7WswgIko42GUfWQ

All words and photos by Joseph James

The Family of Strangers Tour gallery – His Master’s Voice & Armed In Advance

The Family of Strangers Tour

These Four Walls, Armed In Advance, His Master’s Voice & Blue Ruin

Valhalla, Wellington

Saturday 29 April 2017

His Master’s Voice – The Devil’s Blues

Armed In Advance

All photos by Joseph James

Album Review: David Dallas – Hood Country Club

David Dallas: From South Auckland to the world

Hip hop artists often follow the same narrative arc. You’ll recognise it: the rise from living in the projects to a bling adorned superstar. 50 Cent summed it up: Get rich or die trying. Extra gangsta kudos if you served jail time, got shot, or dealt drugs along the way.

I feel that Auckland rapper David Dallas has followed a similar, albeit more realistic path. The term “rags to riches” is an exaggeration, but DDot is undoubtedly an underdog. In the past he has discussed growing up in South Auckland, trying to pick up girls, please his dad, getting told off by mum. He has always foretold that he would make it big, but in the meantime he’s just a regular South Auckland Pasifika Kiwi trying to get by.

Dallas arguably has made it. Scribe tapped him on the shoulder to feature in the “Not Many Remix” back in 2004, and things have been on the rise ever since. He signed to US record label Duck Down, toured the world, and befriended rap heavyweights like Freddie Gangsta Gibbs. Eminem and Run The Jewels.. His last album, Falling Into Place won two Tuis at the NZ Music awards, with lead single “Runnin” going platinum. And after a long wait, we now have a new album, Hood Country Club.

Don’t Rate That

I’ll give Dallas top points for lead single “Don’t Rate That” based on the topic alone. The song tackles racist discourse and rips into loan sharks that prey on people from low socio economic backgrounds – the likes you may find in an area like Dallas’ home of South Auckland.

The dude has balls for calling out Rugby League players who would likely flatten him in a second. Maybe that’s why the song resonates so well with me – because he’s flipping the power balance and attacking those who use intimidation tactics. In this Spinoff interview Dallas boasts that one such lending company pulled their ads from an RnB radio station Mai FM that cater to largely the same target demographic as the loan shark parasites. And that’s why Dallas is such a hero in this underdog narrative – because he worked his way up from a nobody to being a somebody using his influence to fight evil.

Fit In

Follow up single “Fit In” dropped almost an entire year after “Don’t Rate That”. Musically, I love it. The hook roots itself in my head like a stubborn earworm, and I often catch myself humming the tune throughout the day. The message of the track seems redundant, with Dallas trying to prove how little he cares about fitting into the scene. If you don’t care, then why dedicate the effort to writing a song about it? However, despite this, the track is a banger.

Musical evolution

I first discovered Dallas in 2011, with his album The Rose Tint. The key reasons that it stood out to me were the laid back style and the musical tracks. I’m not a huge fan of hip-hop based around rigid DJ beats but this really ticked the right boxes for me. The music found on The Rose Tint featured Dallas’ backing band The Daylight Robbery, which added that extra element that elevated it above the rest. The following release, Buffalo Man EP , featured remixed Jamiroquai songs, which continued the trend of using great music to rap over.

2013’s Falling Into Place stepped away from the full band sound, but still achieved great success due in part to the beatmakers Fire & Ice helping with production. The more musical tracks were the ones that sold. Pop singer Ruby Frost lent her voice to two hit tracks, and “Runnin” dominated the airways due to gospel sample of a nun singing.

On first impressions I’m less enthusiastic about Hood Country Club . Dallas still has mad talent as a rapper, but without the band or vibrant backing beats his sound has lost a huge boost. He even re-appropriates Supergroove’s “Can’t Get Enough”, but manages to lose the vibrancy of the song he’s name checking. “Fit In” stands as my album highlight for the time being, purely because of the catchy vocal hook.

Hood Country Club

I saw Dallas play an O-week event at Victoria University last year, where he previewed a few of these tracks live. I especially remember “Get Off” for it’s venomous content. It’s caustic, direct and PNC’s guest verse on the studio track is downright vulgar – worlds away from the laid back Dallas from a few albums ago.

I’m not saying the aggression is necessarily bad. As you read above, I applaud the righteous anger of “Don’t Rate That”. The way I read it, Dallas has come to a point where he wants to address issues head-on, paving the way to this more urgent tone found on some of these tracks.

He challenges the glorification of materialism and celebrity. He rips through peer pressure and mob mentality. “Don’t Flinch” explores the ingrained Kiwi mindset of “harden up and be a man”. David Dallas no longer has any time for your shit and he’s gonna call it as it is.

Wealth and status are major themes that threads through Hood Country Club. Years ago we heard Dallas rap “My mentality is money orientated”. Now he is batting his ego down and re-evaluating what is important in life. Money lenders and financial élite come under fire, suggesting that Dallas no longer subscribes to the goal of getting rich and famous to fit a stereotype.

The verdict

If Falling Into Place was a teenager, then Hood Country Club is the adult – more serious and not as fun, but still a progression. Dallas is more informed, experienced and confident now. These days he raps about life realities, rather than wishful dreams.

My criticisms about the backing tracks and aggression don’t apply to the entire album. Many do use samples to keep the songs musical and we still hear Dallas’ trademark chilled out flow, it’s just not as prevalent as found in his previous works. Musically, I don’t enjoy it as much. But lyrically and thematically Dallas is at his prime.

David Dallas made global but realised that the value lies in taking it local and keeping his content relatable. He is a hero for becoming a success without selling out. And his music, as always, is outstanding. Lyrically and thematically, Dallas still shines. Hood Country Club won’t receive regular play on my stereo to the same degree as his earlier albums, but it’s still a worthwhile addition to my collection.

David Dallas links:

Buy or stream Hood Country Club: https://umusicnz.lnk.to/HCCFP

Website: http://www.daviddallas.co.nz/

Facebook: https://www.facebook.com/DavidDallasMusic/

Twitter:https://twitter.com/DdotDallas

Youtube: https://www.youtube.com/user/ddotdallas

Soundcloud: https://soundcloud.com/davidkdallas

Joseph James

Live Review: David Liebe Hart at Meow, Wellington

David Liebe Hart and Th’ Mole

w/ Tender Moonlight, TV DiSKO & DJFK

Meow, Wellington

Monday 17 April 2017

Earlier today I was stumped. I had tried to explain my plans for tonight, and had no idea where to even start. How does one describe David Liebe Hart? Comedian? Singer? Puppeteer? Visionary genius?

I started with the obvious connection: Tim and Eric – the crazed duo who create absurd clips for the Adult Swim channel. Tim and Eric deal mostly with surreal clips that are deliberately poorly edited – often looking like old video tapes from the 90’s made by people on drugs (which, in all honesty, could actually be what they are). Their style of humour is awkward and shocking.

Liebe Hart was an obvious casting choice for the duo. Quirky, confident and outspoken on his beliefs in aliens. Most of the clips featured him singing about nonsense with grotesque puppets. And this odd comedy is exactly what I was hoping to see at the show.

Tender Moonlight

High energy opening act Tender Moonlight won my heart instantly. I felt like I was in the middle of a movie action montage as he played. He transported us back to the best of the ’80s, pumping drum machine beats and playing squealing guitar solos. He looked the part too, with a peroxide mop, sunglasses, pink lei around his neck, fingerless gloves and a leather jacket over his bare vest. On his legs he wore trackpants with knee pads (for powerslides?), which got ripped off half way through the set. His set was so sexed up that all the girls in attendance should probably go and buy pregnancy tests just in case.

David Liebe Hart

Technical issues delayed the start of the set. I guess that it isn’t easy to rig up the technology that they were using for the show. A projector shone images and videos onto a screen. Drum-shaped Donkey Kong video game controllers were plugged into a laptop for use as a trigger pad. Sound man Th’ Mole played a hybrid instrument of a keyboard and midi controller attached to the top of an acoustic guitar. And to clarify – that’s a computer keyboard for typing, not a musical piano-like keyboard. I’ll forgive them for not having all the gear set up correctly, seeing as it is such unconventional gear.

So Liebe Hart – always the crowd pleaser – came out to do some stand up comedy while we waited for the tech guys to work their wonders.

It set a weird tone. Tender Moonlight’s epic set had me in a good mood, and but this comedy routine had me questioning what I was in for. Sure, I was laughing, but what on earth is this insanity? Liebe Hart was full of confidence, rattling off jokes I didn’t understand and making the most outrageous impressions with weird voices. We were in for a unique night, that’s for sure!

Liebre Hart went side of stage and hid once the issues had been resolved. We were treated to an immersive video introduction to the set. The plot loosely revolved around a long-secret alien war that had recently arisen, endangering the future of our planet. Cue David Liebe Hart – aspiring astronaut, alien abductee, and saviour of the Earth!

The next few hours were joyous. Despite being absurd, the music was fun to dance and sing along to. The cluster of the audience just in front of the stage were having the time of their lives. Poorly edited videos projected onto the screen at the back of the stage, visually ushering us into a trippy world of Liebe Hart.

He covered a range of topics – vegetables, vegemite, trains, aliens, romance, technology, ghosts, pornography and spirituality. I couldn’t tell how much was genuine and how much was a joke. Liebe Hart was passionate when discussing matters clearly close to his heart. He even sang a few worship songs, seeing as it was Easter Monday. The Christian Science Church he was a member of was clearly a big part of his life, so why include those songs in a set of comedy songs? Wouldn’t that undermine the sincerity?

But the more I thought about it, the less convinced I was that it was a joke. Liebe Hart appeared to believe in ghosts. He called on the audience to share details about any of their ghostly encounters – no Phony Tonys thank you! He talked a lot about his church, about past relationships. About living clean by avoiding negativity and eating well. The Tim and Eric style of video editing was clearly ironic for comedic purposes, but the actual content seemed sincere.

Well known for his ventriloquism, Liebe Hart made sure to incorporate his puppets into the show. Doug the Dog helped him sing about orange German Shephard ghosts. Chip the Black Boy sang about father/son relationships. A giraffe sang about “kiss[ing] her on the lips” and an alien introduced us to the Korendian [an alien race] concept of “Salame” – their term for greetings and farewells.

It was a genuinely fantastic night, much like the last time I saw a viral internet sensation play. The awkward humour could have been cringe, but the music was danceable, and Liebe Hart was such an entertaining character that all reservations were quickly dispelled.