That Southside Swagger

"Like a Louisville Slugger."

It's Christmastime and, though I imagine it breaks all manner of seasonal mores, I got myself a present. It's cool, though, 'cause you can share it too. It's an interview feature with one of my favorite nor'western hip-hop cliques, Southside.

As talking to the whole band proved problematic – Southside is a large group by anything short of Parliament-Funkadelic standards – I instead had a chat with founder, rapper, actor and all around dapper motherfucker Troy "Thunderball" Lund.

He shares with us Southside's unlikely origin story (spoiler: it includes booze), what the future holds for the band (again: booze) and the secret to his success (which is booze.)

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I often describe Southside as a musical collective consisting of every able-bodied male between the ages of 18 and 34 in the Seattle metropolitan area. While this isn't exactly true, Southside is a noticeably sizable group. Who are its core members, and how did this exquisitely eclectic crew come together? 

We first started as a ragtag group of college misfits in Columbia, Missouri. There were exactly 2 liquor stores in town, Eastgate and Southside. We all played in different rock bands at that time (St. Monday, Amish, FeeFee Bag) and decided rep Southside as our own personal party proprietor of choice. It's funny to watch old videos of ourselves at rock shows screaming "Southside!" at the crowd, long before this band was ever even conceived.

Shane (aka Buc Preston) is a graphic designer and bought an SGI computer at a University clearance sale which had Goldwave installed on it, so we started making beats for fun using music that had never really been sampled before (Danzig, Flaming Lips, Blues Explosion, etc). We would dump the beats onto stereo cassette, drop the tape into an old Fostex cassette four-track recorder, throw a party, get drunk, and take turns dropping verses. This was 1995, and thus Southside as we know it was born.

Shortly thereafter, a posse of us moved to Seattle where we just kept making beats, throwing parties, and recording songs. Eventually those songs became more popular than anything else we were seriously trying to do as musicians, so we just rolled with it and started playing parties as a live band.

We kept recording, making mixtapes (you know, actual mixtapes on cassette) and mailing them out to our friends. We were invited to play SXSW and pieced together our first ever official release, the Vibrate EP. If you have one of these, you are truly old school. Shortly thereafter, we compiled all of our recordings (somewhere around 40), weeded out the junk, and made our "best-of" mixtape. This ended up being Please Southside Don't Hurt 'Em, our first full-length release.

The crew during those days was myself, Buc Preston, Marc from St. Monday (MC scrilla), Brent from FeeFee Bag (B-real), Dave (MC Boy RD of Monkey Drool), Brandon (TheMightyGooch), Curt (Dumptruck), and Steve (Slackjaw) from Amish, Quest, Mike (TK from Schmar), and a handful of other buddies who contributed when they could. Shows were chaos – we covered everything from Misfits to Beastie Boys, wore costumes, played in Dojos, and had a ton of fun.

People moved, babies were made, things happened, time passed, and there was turnover. Space Joe (current bass player) was a friend/fan from the Missouri days and he moved to Seattle with his friend, Matt (Reno - current drummer). Shane recruited a couple of homies he works with: Ben the DJ (Tony Snark aka Crunchy Boy) and Ryan (Slim Dickens) on guitar, filling out our current lineup. This is the core group (along with MC Boy RD and The Gooch) that made Southside Liqours, our second full length release.

You typically refer to Southside's musical style as "drunken trucker garage hop." Could you further describe this designation? 

We used to call our music "drunken trucker style" like we were the white Wu-Tang Clan or something. After our SXSW show, a friend of ours who was writing for a music magazine wrote up a great review and coined the term "garage hop." We combined the two and history was made. There was actually a short Midwest tour several years ago with Metaforce and King Solomon called The Drunken Trucker Tour!

The Southside sound combines both live instrumentation and more traditional hip-hop beats with a rotating cast of MCs. How many members typically contribute during the songwriting process? 

This is an interesting question, because in the beginning everyone involved was an MC and a multi-instrumentalist. Someone would make a beat (mostly myself, but not always), we would all record the vocals, and then when we would book a show we would all sit down and figure out how to play it live. Every show was different, a whole new production made from scratch, built around whoever was available and into it at the time. There was a lot of instrument swapping, typically in-between almost every song.

With the new lineup, roles are a little more defined (although there is still crossover). We are trying to write songs together as a band, instead of producing the songs first and then figuring out how to play them live. There are pros and cons to this. It's definitely cool to now be sampling ourselves when producing beats, as opposed to digging through other people's tunes and pulling samples that way. That is something we've always dreamed of. And now with Serato we can even scratch ourselves! However it does sometimes make the process a bit more difficult and time consuming. The results, though, are turning out to be pretty rad...

The distinguished competition.

I tend to agree! In fact, Southside were the winners of Scrub Club's inaugural Versus Mode competition. How has that this attachment to Scrub Club impacted the band? 

We are proud to be part of the Scrub Club family. We've received more kudos, made more fans, and given away more downloads than ever before. It's a great vehicle for getting our music out there. The main bummer is that as a full live band it's not quite as easy for us to travel and play convention/event shows as it is for a single MC with a laptop or CD with beats. We do, on occasion, play shows without the live band (just the MC's and DJ), which can be fun. It's a totally different feel. However, the full experience with the band is a lot of fun as well.

It's funny because we've always somehow managed to elude genres (not necessarily to our benefit). We've been told we're too rock to be hip hop, too hip hop to be rock, and now in the Nerdcore community people have said that we're not nerdcore enough (whatever that means) or that we are "frat rap." We've been rapping about computers and the apocalypse for 15 years, so we don't really care how people want to categorize or not categorize us.

Which brings us to an interesting point; because of this affiliation with Scrub Club you've slowly become more linked with the nerdcore hip-hop community. Have you noticed any shift in your audience as a result? 

We have had a few people show up at live shows in Seattle because they heard about us through Scrub Club, and we struck up a friendship with Billy the Fridge via SC as well. When people were knocking us on the forums during the VS Mode challenge, he stepped up and had our back. Beyond that, we are now being exposed to people all over the world who would most likely never have heard of us otherwise, so it has been a blessing. We'd like to say thank you and Madhatter for that.

Would you say that most of the members of Southside are nerds? 

I do voices for video games, build my own computers, and have an SQL book sitting on my desk. Shane, Ben and Ryan all work in graphic/motion design. Ben has a pile of servos and gadgets in his apartment. Between us we could build a robot that could paint graffiti on your driveway, so make of that what you will.

With Liquors still getting ample play (at least by me) and Please Southside Don't Hurt 'Em recently re-released by Scrub Club, what's the next move for Southside? Is there another album in the works? 

We're in the middle of recording now. We like to record a ton of stuff, then sift through and pick out the best and make it sound as good as we can. Some of the production on Liquors wasn't as good as we would have liked because we set our CD release date and booked our CD release party before the album was even done. Because of this, we rushed some of the mixes. I picked up the boxes of CDs on Thursday afternoon for our Friday CD release show. Not a good idea. We're taking our time with this one (working title: Science Diction). There are 27 songs in the mix right now, at various levels of completion, including some collabs with names you will recognize...

In addition to Southside and your other more rock-centered projects, you also occasionally moonlight with the aforementioned MC Quest as rap duo Metaforce. With Quest currently otherwise occupied, are there any plans to officially release group's third LP Feared Science? 

Right before he went away, we recorded Feared Science. I would call it 85% complete. We are re-purposing a few of the songs as Southside songs for Science Diction, which is not too crazy as there has always been crossover. Quest is on a lot of Southside stuff, and Southside members are on a lot of Metaforce stuff. Metaforce has always seemed more of a serious hip hop project, while Southside is more about having fun and entertaining.

We played a dual Southside/Metaforce show in Seattle a couple years ago that was absolutely off the hook. We wrote all of the song titles down on playing cards and let the audience pick a card. We would then jump up and play that song. It was a party and a half. Bjork was playing across the street and some of her musicians came by to see what the hell was happening. They stayed for the whole show, and even kept a bunch of the cards that they had drawn as souvenirs. They said it was the most fun they'd had at a concert in a long time...

From Sir Mix-a-Lot to Optimus Rhyme, Seattle is a big rap town. What is it that makes Rain City hip-hop so special? 

There's something about this town that sparks creativity. From way back in the day (The Sonics, The Kingsmen, Jimi Hendrix), to the hair metal days (Queensryche, Metal Church, Heart), to the grunge days (Nirvana, Soundgarden, Mudhoney), to the indie rock days (Modest Mouse, Death Cab for Cutie), this area seems to always be on the forefront of whatever is happening musically. Now there's this whole 3rd Wave hiphop movement happening (Fresh Espresso, Helladope, Dark Time Sunshine) and a solid nerd posse (Billy the Fridge, Death*Star, Ultraklystron). Must be the combination of the coffee and the weather... It's a beautiful city in an amazing part of the country.

Lastly and most importantly, who's the J.R. Ewing of Seattle? 

Definitely Sir-Mix-a-Lot. That title is undisputed.

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It's really hard to overstate my love for the music of Southside. Though their sound was born elsewhere, it has obviously taken root in the Emerald City – it was there that a humorous, alcohol-fueled side project grew into an inspiring experiment in new school hip-hop. To me, Southside is as much a Seattle band as Optimus Rhyme, Bloodhag or The Murder City Devils.

They are a big bass kick, a sharp arpeggio and a sarcastic snort. They are the soundtrack to a lost weekend. They are my favorite things about rap and punk and electronica all wrapped up in one crazy package.

One of 2009's best albums available free in 2010

It's odd to me that the nerdcore community still falls back on the "not nerd enough" argument of ages past, especially as the new beef seems to be with those who are, in fact, too nerdy. But alas, haters, as I'm sure you've heard, are inclined to hate.

But whether detractors are decrying their perceived lack of nerd cred or their cleverly concealed hip-hop heart, Southside admirably moves forward. Still making music that mines the geeky mindset as easily as it channels the irreverent, comical nature of Golden Agers like Biz Markie and the Beasties.

Southside's albums – just like their live shows – are big, beautiful, messy affairs. Because Southside is a musical force of nature.

Loo-Tech

Nerdapalooza 2010 was an interesting affair, and not just because of DataVortex's magical confections. (Bazinga!) This year's festival featured a strong geek rock component that really helped define the fan experience. Admittedly I've already talked about this at length, but a recently unearthed video interview of yours truly by the delightful Lo-Tech of The GeekPeekPost revisits this topic. We also discuss nerd parenting and compare D20 tattoos. In a unisex bathroom.

Which, for the record, is where I shall be conducting all of my future interviews. Seriously. Check my rider.

Southern Fried Geek

Meet the band.

I make it a point not to tout my own perceived skills or abilities – generally because that's the quickest way to come off looking like an uninformed chump – but please indulge me when I state that I know a few things about nerdy music. Following such acts has become, if not my bread and butter, at least my coffee and jam over the last several years. I put a fair bit of effort into such endeavors, so I hope that when I say that Florida's Sci-Fried is a geek rock band like no other you'll at least entertain the notion.

I discovered Sci-Fried in the same manner as many other nerdy outfits – it all started with an email. Drummer and co-founder Jim Frederick introduced himself (and the band) to me by way of a track entitled "Level UP!" From that point I was hooked.

By the time I caught the guys at this summer's Nerdapalooza I'd already committed a number of songs, both standard fare like "Level UP" and b-side material like the KISS send-up "Doctor Jones," to memory. Not by choice, mind you, but because tracks like that, music that combines the most studious of geeky passions with the power of classic-style arena rock, appeal to me on a base level.

You see, I am a lover of hip-hop and I've said many times that I grew up punk rock, but the most elemental components of my formative musical years were steeped in Zeppelin, Rush, ZZ Top, Nugent and all the other iconic bombast of rural classic rock radio. Yet despite the uncanny influence of these powerfully patch-worked styles, few modern artists (geeky or otherwise) mine it directly.

And yet Sci-Fried does just that.

Formed in 2007 when Jim and guitarist Chuck Silver set out to combine their twin loves of science fiction and rock 'n' roll, Sci-Fried began in a most unsuspecting manner – by cranking out high-energy parodies inspired by their favorite movies and TV shows. The addition of co-vocalists Dr. Vern and Mike "KSV" Jensen and bassist Sunni Simmons rounded out the lineup and also shaped the band's overall sound. Sunni's metal roots helped to add an additional level of musical aggression, while the combination of Vern's soulful, theatrical voice and KSV's low-key almost nerdcore-style delivery helped to smooth out the mix. Which brings me to my second and likely counter-intuitive point.

While Sci-Fried are perfectly comfortable channeling the wild energy of what I have affectionately come to think of as redneck rock – Sunni once referred to the band as the Mötley Crüe of the geek scene – they refuse to be musically boxed in, to limit their repertoire to what may be simple or expected.

Though I find it hard to quantify the exact essence of their intoxicating blend of styles and influences, let me endeavor to do so:

Part Tom Petty and the Heartbreakers, part Anthrax, part Dr. Teeth and the Electric Mayhem,Sci-Fried has easily inserted itself into the list of my favorite bands in all of musical nerddom.

Across the breadth of two albums Sci-Fried have explored a sonic palette colored by everything from American soul to British pub rock, from rap to punk. I'll be the first to admit that all this sonic experimentation leads to an occasional ill fit, but the guys are always expanding their musical scope while still holding onto that very classic rock element that provides their greatest strength.

Slated for an early 2011 release!

The aforementioned albums showcase the band as a split entity. Their twin debut LPs Geeks Unite (which features an amazing selection of original material) and Ramming Speed (a humorous collection of filk-rock parodies) present the Sci-Fried sound in very different ways.

Geeks Unite opens with "Welcome to the Geek Age" and the title track – a clever and hard-hitting affirmation of nerd life. From there it weaves ably through surreal noise rock ("Don't Phase Me, Bro"), aggressive sleaze metal ("Sci-Fried") and ridiculously hilarious Dementia Music ("Ninja Drinking Song.") Occasionally the band's odd juxtaposition of styles fails to satisfy ("A Hero"), but more often than not it manages to hit the sweet spot. Nowhere is this more apparent than on the album's stand-out track "Saturday Night on Syfy" - a song infinitely more palatable than its titular subject matter.

Ramming Speed likewise starts strong with another odd spoken-word piece that bleeds into the Primus send-up "Too Many Zombies." It's not exactly KSV's strongest vocal performance, but it manages to grab the listener. Joints like "Stargate Zone," "Trippin' through The Wormhole" and " My Name Is Spock 2.0" also blend the easily recognizable sounds of their musical source material with properly geeky lyrical content, but this album also has a few skippable selections. More often than not, though, Ramming Speed's material tends to fall along the lines of WAR parody "Land Speeder." It's fun in small doses, but not exactly the most compelling stuff the band's provided to date.

I'm not going to mislead you here; I genuinely adore Sci-Fried. A number of my friends were a tad skeptical as I talked the act up early this summer, but seeing the fellows perform live on the Nerdapalooza stage managed to make true believers of most. As much as I enjoy the sound of the band on wax, the live experience truly showcases their strengths. From Vern's larger-than-life voice to Chuck's classic licks, Sci-Fried is a band that begs to be experienced live.

They're also one of those acts that relishes the chance to connect with fans both on-stage and off. I'd be lying if I didn't say that some of the best parts of my Nerdapalooza experience was spent simply hanging out with Sci-Fried and their extended musical family. (What up, Jaime!) And it's important to note that Nerdapalooza was merely one stop on the band's dorktastic summer circuit. TOUR 2010: The Year We Make Con‐Tact took Sci-Fried from nerd hot-spots like Megacon, Dragon*Con and even the Klingon Feast. A fitting tour regimen for the reigning kings of southern geek rock.

Yeah, that pretty much sums 'em up.

Over the past couple of weeks I've had the pleasure of further cultivating my love for this most unorthodox act by way of a series of preview tracks from their forthcoming album Future Tense. Thus far I've been treated to a strong Serenity-themed ballad, a literal geek rock anthem and a proper studio version of the Marc with a C collab they unveiled at 'Palooza 2010. The sound of the album seems to be a bit more consistent, but the guys are still experimenting with styles and merging genres for the greater good of nerdy music.

To illustrate this point, I'll close with a season-specific single from Sci-Fried (and again featuring my brother Marc with a C.) It's the perfect example of the kind of good-natured musical madness one can expect from the band. And if this one doesn't do it for you I encourage root around a bit in the Sci-Fried back catalog. They offer a myriad of sounds for any mood.

Assuming, of course, that said mood involves geeking the fuck out.

Radio Free Hipster Ep. 101: Snowblind

I can't help but think that what our great nation – nay, the world needs is an irreverent and occasionally sexually explicit holiday podcast.

In fact, I've taken it upon myself to provide the citizens of Earth with just that. Because I am a giver.

Download Radio Free Hipster Ep. 101: Snowblind [hosting provided by Antisoc] Size: 42.5 MB Running Time: 49:25 Subscribe to RFH 

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Tis the season for Baddd Spellah. #falalalalaalalalalaa 

Track 1: 30 Rock dialog / Catchlove – "It's Still Snowing (feat. Danny Dementor)"
Is it me or is Danny D channeling mc chris in this tune?

Z's 1st interlude: "Compliments of my fellow Christmas elf Dave the Knave."
Much seasonal love to Dave for the 30 Rock audio clips.

Track 2: Voicedude – "Fuck You, Santa!"
From the amazing new Santastic V: Snow, Man! comp.

Track 3: 30 Rock dialog / Billy the Fridge – "Bad Santa"
Billy the Fridge is the official nerdcore Santa.

Track 4: jmr – "Little Drummer Boy"
An OCR classic from 2007.

Track 5: Elliot Kimmel – "Mitosis in a Winter Wonderland"
Once again Church comes through with the holiday hook-up. 

Track 6: 30 Rock dialog / Anamanaguchi – "All I Want 4 Xmas Is U"
Yet another fine selection suggested by Dave the Knave. 

Track 7: Former Fat Boys – "Jingle Bells, Batman Smells (The Joker Got Away)"
This track starts out pretty low-key before getting all freaky and disturbing. Such is the FFB way! 

Track 8: John Anealio – "Batman Smells (A Rebuttal)"
Available on John's new Season's Geekings EP.

Track 9: Sci-Fried with Marc with a C – "Star Wars Christmas"
Easily at the top of this year's holiday music offering is this little ditty from my southern brothers.

Z's 2nd interlude: "Let's take a look back at this year's very early Hanukkah."
Dear Jewish calendar: you really confuse me. Love, Gentiles everywhere

Track 10: 8 Bit Weapon & ComputeHer – "Hanukkah (Festival of Lights)"
From their own It's a Chiptune Holiday collection.

Track 11: Schaffer the Darklord – "Terror of the Bells"
Just like the Billy the Fridge track, this one is from the Shael Riley-helmed Come Down the Chimney. 

Track 12: 30 Rock dialog / TheCoop – "Algorhythmic Bells"
I swear I've played this one in a previous holiday special. :/

Track 13: Abra West – "Lonely Christmas Eve"
If you're unfamiliar with this fan series check out the awesomeness.

Track 14: 30 Rock dialog / Paul Slocum – "Up on the Housetop"
Side note – I have convinced my son that the words for the original song are as follows: "Up on the housetop, reindeer balls…"

Track 15: Go Home Productions – "High Tides and Blocked Peace Pipes"
It's a very Blondie Christmas!

Z's final interlude: "As long as you buy me a present."
Let's not forget the important things this year.

Track 16: Insane Ian – "Yellow Snow"
Big-ups to Ian for sharing this new single with me early.

With this measure of holiday merriment out of the way we begin looking toward year's end. I pretty much have the final podcast of 2010 all worked out, so I've got that going for me. Which is nice.

As promised I'll also be sharing another interview, a profile piece and my annual year in review post over the coming weeks.

What will 2011 hold? Only time will tell. But until then, happy holidays to you and yours!

Not Safe For Anywhere

His Satanic Majesty Schaffer the Darklord has a brand new video. It's for his lyrical exercise in overindulgence known as "The Bender."

Now, for those of you saying "Oh Z., I totally saw that video when Schaffer including it in his vidcast last year." I say, hold the phone, kid – this is a brand new production of the Manslaughterer classic. Also, don't back-sass me.

Yeah, you heard me.

Directed by Burke Heffner and featuring the talents of countless NYC burlesque stars (and my main Ghostbusting man Nelson Lugo), this bad boy is highly offensive and shouldn't be viewed by anyone ever. But that's not gonna stop you. On account of your admirable boldness. 

Obviously this joint glorifies sexual promiscuity and drug abuse and guyliner – y'know, because it's another track from a man whose claim to fame is humping his own clone – and even in its sanitized state it's still pretty raw. So maybe try not to watch it when the bossman is about.

If, however, you wish to support the unbridled American arts by viewing the original, uncensored cut, you can do so at www.thingstolookat.com.

You filthy little monkey you!

Raindrops on Roses and Whiskers on Kittens and Shit Like That

"Oh balls!"

The crossover into early December is typically when we bloggers put on the cruise control. It's all about gift list this and top ten that, but I (sadly) don't have that luxury.

This year, as in holiday seasons past, I am helming GeekDad's 12 Days of Geekmas giveaway, which means I'm doing even more writing and podcasting than usual. Still, I'm taking it as a personal challenge not to let Hipster, please! fall by the wayside as a result of my professional responsibilities.

While I can't promise an abundance of posts or anything on par with the kind of mega-contest we're hosting over GeekDad-way, I do pledge to you that I'll be using this month to spotlight my favorite artists, tracks and albums of 2010.

Highlights include an interview with one of my favorite hip-hop crews, a feature piece on the south's preeminent geek rockers and, of course, my yearly nerdcore wrap-up. And along the way you'll also get the requisite pair of December podcasts.

You're very much encouraged to share your own picks for 2010's superlative nerdery. Y'know, the kinds of things you remember so that you don't… feel… so bad?

Wow, I extended that Sound of Music thing to an unhealthy level, didn't I?

TV on the Radio (No, Seriously.)

... We'll be riiiiiiiiiight back!

There are few artists with track records as proven as my boy Doctor Octoroc. His always unique concept pieces and all killer, no filler approach to chiptunes have made him a wholly deserving internet legend. From his 8 Bit Jesus holiday album to his amazing interactive YouTube video series based on hit musical comedy Glee, Doc Oct always seem to have just the right release waiting in the wings.

His latest creation, After These Messages, is a 33-track monster inspired by classic television. Theme songs, commercial jingles and even those unforgettable ditties form your favorite game shows are each given the NES-style musical treatment from the good Doctor. And the prognosis is awesome! (See what I did there?)

It's a pay-what-you-want release, which means you can, if I'm understanding this correctly, pay what you want for it. And whatever you pay, I promise it'll be well worth it.

Check out the official project page for more details, and "Like" that bad boy on Facebook to help out with the all-important album promotion.

Still, the question remains: what is next for Doctor Octoroc? My guess is an 8-bit musical based on Johann Wolfgang von Goethe's highly influential German-language tragedy Faust. But that's just, y'know, me spit-ballin'.

Radio Free Hipster Ep. 100: Centennial Man

I compare producing the 100th episode of a podcast to losing your virginity – you're really anxious and excited about it, but once it's over you're pretty sure you did it all wrong.

That being said, here's Radio Free Hipster episode number 100. I couldn't have done it without you, and I mean that in more ways than one. So kick back and enjoy.


Download Radio Free Hipster Ep. 100: Centennial Man [hosting provided by Antisoc] Size: 53.1 MB Running Time: 58:01 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Fun fact – Spellah's RFH theme song premiered in episode #15. Does that necessitate its own anniversary show? 

Track 1: Baddd Spellah – "99 Balloon Flights"
Starting off the show is a cut for GeekOnABlog. 

Z's 1st interlude: "And pretty much did my job for me."
For serious.You did. 

Track 2: Parry Gripp – "Yub-Nub"
My brother Dave the Knave picked this one. A fine addition! 

Track 3: Dual Core – "Fantastic Four (feat. Beefy, YTCracker & Wheelie Cyberman)"
This one was sort of a catch-all. A lot of y'all wanted to hear it. And so did I. 

Track 4: Dave Ross voicemail / Captain Dan & the Scurvy Crew – "Shore Leave"
Thanks so much for the nice voicemail, Dave! 

Track 5: 10000 Spoons – "Astley Gone To Heaven"
This one is for Antisoc, without whom this podcast would be bereft of the bandwidth it needs to succeed. 

Track 6: POWERLIFTER – "Mr. Brightside (feat. Jeremy Spring)"
Oberon the Fool asked for some Scrub Club, so I delivered the new hotness. 

Track 7: Wordburglar – "Hermaphromic"
This podcast has only one rule – if Snipeyhead makes a request, I damn sure better play it. 

Track 8: The Mudbloods – "I Wish You'd Be My Witch"
My buddy Matt, who actually really got me into the Mudbloods, asked for this little jewel. 

Z's 2nd interlude: "You knew I'd play them anyway."
You guys know me so well! 

Track 9: Optimus Rhyme – "Click-Click"
Is it wrong to play my own request? Probably. 

Track 10: Schaffer the Darklord – "Club Destroyer (feat. Removal)"
For Tom B. I chose this amazingly rocked up joint from Manslaughterer. 

Track 11: Metroid Metal – "Prime Theme (MP)" / Bonehand voicemail
Steve was not only nice enough to have me on his own show to promote RFH 100, he even went so far as to leave me a congratulatory message. What a guy! 

Track 12: Random & K-Murdock – "Dream Master" / Seattle Geekly voicemail
Thanks to my homey funky49 for the request, and much love to my comrade-in-arms Matt (of Seattle Geekly) for the voicemail. Truth be told, the kind words of my fellow podcasters were the true highlight of this show for me. 

Track 13: Rivercrest Yacht Club – "Robot Jox"
Alex wanted to hear some Rivercrest Yacht Club. I chose this one because I love the trippy, Star Trek-style intro. 

Track 14: I Fight Dragons – "With You"
This one's for datavortex who wanted to hear an IFD song featuring the dulcet tones of former member Laura Trainor. 

Z's final interlude: "Turning you on to even more great shit."
Speaking of, big ups to my longtime friend Brux for the tailor-made background music. 

Track 15: Southside – "1010011"
Southside, just like Schaffer the Darklord before them, are the recipients of the coveted "See, I Told You They Was Dope" Award.

Guys, I've said it before and I'll say it again – this show wouldn't exist without you. For those of you who've been down with Radio Free Hipster from the beginning, thanks for your continued support. For those that are new to the show, thanks for giving it a chance. To my fellow podcasters, thanks for your kind words and for providing me with constant inspiration from your own unique undertakings. And to my crew – Church, Matt, Soc, Dave, Jason, et al – you guys are the oil, gears and animalistic grunts that keep this machine moving ever forward.

By this point y'all know the drill. December will see my annual holiday episode and a last musical gasp before year's end. If there's anything you'd like me to cover in either, don't hesitate to give me a holler.

Boredom Busters – New, Notable & Nerdy

It's Thanksgiving week here in the old US of A, and that means I'll likely not have a lot of time to post over the coming days. You know, family and turkey and parades and shoppin' and all that.

Still, since many of you will also be in a similar time crunch, I figured now would be a great time to direct you to some new projects to keep you occupied during that Black Friday assault of the local Toys 'R' Us.

In case you missed it, meta-mash-up artist Girl Talk dropped his 5th full-length last week. While his previous release Feed the Animals didn't exactly do it for me, All Day is a really quite an enjoyable mix. Tracks 3 and 4 ("That's Right" and "Jump on Stage" respectively) are easily among his best showings to date, and the entire project is freely available at Illegal Art.

Another musical must-have is Doctor Popular's Beeps and Smudges, an album for which I recently expressed a sincere and desperate longing. It too is now available, and I gotta say the project is even more enjoyable than I anticipated. Built entirely around iPhone and iPad music apps, it's niche creation obviously inspired Doc to do great things. It's available for as a little as $1, and since Doc Pop is selling it through Bandcamp you can preview the album in its entirety.

While you're over Bandcamp way, also be sure to cop the latest from seminal Wizard Rockers Harry and the Potters. Remixes is an 8-track collection of – wait for it – remixes. It features a fun selection of reworked material from the classic HatP catalog including Paradise Dan's original Old Nerdy Bastard contribution, a dash of reggae dub and a damn-near stirring a cappella interpretation of "Save Ginny Weasley." It's a pay-what-you-want release, so you have no reason not to check it out.

Additional Potter-related musical goodness is available from our friends at the Funny Music Project. FuMPer Insane Ian has dropped the Weezer parody "Harry Potter" just in time for the release of Deathly Hallows part 1. Ian's also offering an "evolving album" of classic and contemporary covers via his site. Check it out now for a trio of selections, and keep checking back as the project continues to grow.

If for some reason all this music doesn't slake your thirst for nerdery you are also welcome to check out the most recent addition of The Bonebat Show. Episode 57, on which I guested along with my nor'western brothers Death*Star, is presently available at bonehand.com, Itunes, and your aggregator of choice. It's a fairly robust encounter that features live music, political rants and lots of talk about wangs. Suffice it to say it is a classy good time.

Those of you in the market for a more visual style of entertainment are encouraged to peep the newest from chip/sprite artist Doctor Octoroc. Oct created a bead sprite piece a while back entitled "Firewall" that served as his own commentary on the current state of the console wars. More recently he's translated this concept into an elaborate 16-bit-style animation. Check out his site for the requisite background information or his YouTube channel to head straight to the vid itself.

And I can't mention YouTube without pausing to pimp the latest from Florida's Krondor Krew. Your favorite ninjas teamed with a local Orlando-area production team, Arcani Pictures to craft the band's first official video. It's for the track "Sneaking" from their album The 6th Rotation of the House of the Chaos Star. Give it a look and add a little Ninjapendence celebration to your Turkey Day.

The Future is Now

Photo credit: Kyle Mistry

Back in the proverbial day, Hipster, please! was all about some artist interviews. In fact, I'd go so far as to say that such features were the cornerstone of the project.

But much has changed over the years, and my focus has shifted a bit. Now it seems that compilation albums and the Radio Free Hipster podcast have become a bigger priority, and as a result the noble interview feature has fallen by the wayside. Still, as a man who prides himself on his ability to remember his roots I knew I couldn't just let this slide forever.

This is why I plan to close out 2010, an amazing year for both nerd music and this tiny blog that hopes to cover it, with a bang – by featuring not only the return of regular interviews, but by spotlighting a pair of my very favorite acts.

The first is Dr. Awkward. He is a man that exploded onto the scene with a relentless brand of musical aggression tempered with the unassuming soul of a poet, and who shows no signs of letting up. Doc was kind enough to chat with me about his solo work, hip-hop hybrid outfit The Bossfights, Harry Potter and his own unique musical journey.

Read on to go behind the mask.

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First things first, Doc: how long have you been rapping?

I've been rapping for roughly 6 years. It was never something I did consistently until recently however. I started rapping at a house party when I was 16. I stumbled into a back room, and stepped right into a cypher. It was love at first rhyme. From there I would just join freestyle sessions at parties and get togethers for kicks. 

How did you discover nerdcore hip-hop, and what made you decide to begin writing rhymes in that style?

I was introduced to Nerdcore through a friend, and fellow rhymer, Soup Dogg. He would constantly play me really obscure music and he was constantly telling me about Nerdcore. One day he played me an MC Frontalot track, and I fell in love. After some googling, I came across ZeaLous1's music and knew right away it was something I wanted to do. As a huge nerd, it just made sense that I would combine my love of Hip-Hop and my life as a dork.

Your Next Gen EP was an instant classic amongst nerdy heads and – in my opinion, at least – a real musical high point of 2009. How was this project conceived?

I wish there was some grand moment when it all came together, alas there is not. After hearing the aforementioned tracks, I decided I would try my hand at dropping Nerd rhymes. I grabbed my SOCOM II headset, a free beat, and a free music program, and began "writing" for the first time. I went to the forums, and asked for critiques on the first song I ever wrote, "Secret Genius," which was a track about Pinky and The Brain. After several critiques about sonic quality, Soup Dogg and I split a $300 equipment bill to upgrade to something listenable. From there I just wrote a bunch of stuff and kind of threw it all together. I was fortunate to release the first EP, in a "perfect storm" situation. I am still convinced the success of Next Gen was largely due to circumstances beyond my control. I am grateful that I was so lucky.

That release featured a number of standout tracks, not the least of which were joints like "F.U.F." and "Geekquilibrium." While the former is a rather self-explanatory banger, there seems to be some real emotional depth to the latter. How much of the narrative from "Geekquilibrium" reflects your own experience and attitudes? Is it a personal anthem?

"Geekquilibrium" is a really special song to me. The song itself came to me in a dream, as corny as that sounds. I was sleeping, and someone in my dream began shaking me and yelling at me to "find your geekquilibrium." I woke up and immediately wrote the word on a nearby napkin. The next day at work, I really started analyzing the idea of a "geekquilibrium," and it's something that I often have to deal with. I mean everyday for me is this weird struggle, so I guess you could call it a "personal anthem." I was actually really surprised to find that it was a problem others had to deal with, as well.

You followed up Next Gen with a full-length album, Unlimited, earlier this year. How do you feel this project differs from your debut?

Unlimited was a statement. I wanted to show people that I was more than the first EP. Next Gen was great, but some of the tracks didn't really represent me musically. I felt like Unlimited was a chance to show listeners what I was capable of. I want listeners to hear the tracks and not know what to make of me as an artist. The entire album is crafted in this fashion. I want you to take both albums, play them on random, and ask yourself "what is this?"

I've remarked on a number of occasions that you manage to rock the mic as both an MC and as a more traditionally-centered singer. Have you had any vocal training?

HA! Definitely not. I never sang a note outside of the car or the shower before Next Gen. I was writing the hook for "Clan War" and jokingly sang it dramatically. I liked the sound of it, so I kept it. When it came time for "Unlimited" I wanted to push boundaries, and incorporate different musical genres into my music. I chose R&B to step out of my comfort zone, while bringing something rarely heard in Nerdcore. I still don't think myself much of a singer, though I enjoy it quite a bit.

Your music employs not only clever lyricism, but also lots of bright instrumental hooks (with even the slightest hint of G-funk.) To what extent do you feel your style was influenced by your environment? Is Dr. Awkward a California artist? Does he make California music?

Like anything I am influenced by my environment, but I wouldn't necessarily say Dr. Awkward makes "California music". I was born here in San Diego, CA. I grew up during the 90's west coast hip hop movement here. So artists like Tupac, Dre, Snoop, and Nate Dogg were my initial reference point of hip-hop. So I am sure that comes out in my music. At the same time I am inspired by artists from around the world, in all genres. For instance, my song "Unlimited" was inspired by the musical Wicked, and the hook for that song is inspired by Krizz Kaliko's "Genius." So I think it safe to say Dr. Awkward makes weird music.

Unlike a lot of nerdcore artists, you are a family man. Does married life make it difficult to gig and record?

It's only difficult to leave them behind. My family are my biggest fans, so it's tough to be away from them all the time. So that has been something, we've all had to learn to deal with. Other than that issue, having a family has really had positive effects on my music. I am constantly bouncing ideas off of them, to get a sense of how a concept will be received. I draw lots of motivation and inspiration from them, and I am blessed to have them. 

What albums, artists or events have provided you the most musical inspiration?

It's hard to narrow my inspirations down to a few specific things, because I draw from everything. As far as artists that really shaped major directions in my music, there are a few. The Grouch was the first artists that made me want to rap. As far as pursuing nerdy music, I have Frontalot and ZeaLouS1 to thank for that. 

Photo credit: the Scrub Club archives

You have a fairly prominent Dark Mark tattoo. Are you a big Harry Potter fan in general, or was it just that imagery in particular that appealed to you?

I hope you are not implying that I am an IMPOSTOR! In all honesty, I put the Dark Mark on my arm because I am a HUGE HUGE Harry Potter nerd. It was the single piece of literature that spawned my love of reading as a child. It is for that reason I saw it fitting to immortalize my love for it in ink. Even the cover of Next Gen, is the mask of a Death Eater. I am just fruity for the Potter universe.

Have you ever given any thought to a Potter-related musical project or to collaborating with any members of the Wizard Rock scene?

I would absolutely love to do some Harry Potter themed music. I think it would be really cool to work with some sweet WRockers, although I am kinda a potter snob. The music would totally have to meet the level of love I have for the literature!

In addition to your work as a solo artist, you are also a member of rock/rap fusion outfit The Bossfights. How did you fall in with that particular group of musical miscreants?

Begged on my hands and knees. Sent love letters. Washed cars. Anything I could do to be a part of the band! Honestly, it just all kind of came together. ZeaLouS1 told me about his new musical direction, and asked if I'd like to come see them practice. I made the trip and instantly fell in love with them. They are all incredible musicians, and just beautiful artists with their respective talents. We all hit it off and, to use cliches, the rest is history.

Early on you labeled yourself as a "next generation" nerdcore artist. What other acts do you feel represent a similar next gen aesthetic?

I think anybody can be a next gen artist. It just means someone dedicated to the evolution of their music. I think that's what nerd/geek music as a whole needs, more people who are willing to be unique. Awhile back MC LARS haphazardly tried to inspire artists to evolve, while I don't agree with his approach, his message was a valid one. We all need to evolve, and stop trying to conform to what is geek/nerd music now, and instead try to shape what it will be.

What do you see as the greatest threat to nerdcore as a movement?

I have a very weak grasp on nerdcore as a movement. Recently I have come to realize I don't fully understand it. I had a very naive view of Nerdcore when I released Next Gen. I said I'd be the next generation, in an attempt to bring it to the masses. I'm not sure that's what nerdcore wants. "Nerdcore" is a very abstract concept, it is both all encompassing and ready for new direction, while simultaneously content in its current state and obscurity. The more I attempt to change it to bring it to a different audience, the more I get the feeling I don't accurately embody "Nerdcore." So it's rather difficult to speculate on what threatens it, when I don't get it myself. I'd say the only who could properly answer that, is Frontalot himself.

If you, due to the ever-popular "circumstances beyond your control," were forced to immediately retire from music, what single track or performance would you want to be remembered for?

That's tough. I'm not really sure I've done anything that warrants being remembered. I can tell you that if I left music today, I'd remember Dr. Awkward for every performance, every "fan" I had the pleasure to meet, every email from someone who took the time to listen, every smile I saw when I was blessed enough to perform for people who wanted to listen. I'd remember Dr. Awkward as one of the most rewarding experiences of my life.

What's next for Dr. Awkward? What can we expect to hear from you in the future?

Right now I'm focusing on the writing process for The Bossfights debut album. As far as solo, it's hard to say. I'm gonna keep doing the music I love to do, and I hope it finds the ears of those that would love to listen.

Any parting words?

Keep those DualShAwks up and Keep Moving!

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Dr. Awkward is that rare act that grabbed me from the very first track. I remember listening to the opening strains of "Welcome to the Awkward Show" – with its Kasparov beat and its snarky, Eminem-style delivery – and being sure that Next Gen was nothing short of a keeper.

Since that time Awk's delivered a fantastic full-length, become a defining element in the first true nerdcore/metal fusion band and stunned me both with his lyricism on wax and his swagger on the stage. He has also come to represent to me a very pure strain of geeky hip-hop.

As an artist, Awkward pays a musical debt to early influences like Dr. Dre and Tupac, but isn’t afraid to admit the role that his scene contemporaries like MC Frontalot and ZeaLouS1 play in his continued evolution. Awk doesn't rep nerdcore because it's convenient, but because the style itself reflects his own dualistic nature.

Dr. Awkward is both nerd and hip-hop. Deeply. Genuinely. Unapologetically.

And if that ain't next gen, I don't know what is.

Radio Free Hipster Ep. 99: Bad Manners

Special episodes are gonna be the death of me. Between last month's Halloween Crap-tacular and next month's holiday edition (not to mention my big 100th episode right around the corner) I've got more special editions than regular ones these days.

This leaves me very little time to spotlight some of the new hotness, but I've done my best to pack this episode with brand new tracks that are ripe for the picking and a few older joints that you may have missed.

Download Radio Free Hipster Ep. 99: Bad Manners [hosting provided by Antisoc] Size: 46 MB Running Time: 50:20 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
There are few things more rewarding than having a custom-made podcast theme by two of your favorite artists.

Track 1: Supercommuter – "Robot Party"
Believe it or not, this is from Supercommuter's very first gig.

Z's 1st interlude: "We are gonna move from chip-hop to geek rock."
Which won't likely surprise you. 

Track 2: Nuclear Bubble Rap – "Inyourendo"
Once again just let me pause to give it up for the FuMP community.

Track 3: Marc with a C – "Bed Intruder Song"
For anyone who may have somehow missed this whole thing, here's a breakdown.

Track 4: Billy the Fridge – "Armstrong"
If we all join hands and wish really hard will Billy put out a follow-up album already?

Track 5: DJ Lobsterdust – "Knock Out Eileen"
The juxtaposition of Kevin Rowland begging for sex and LL making idle threats is… creepy.

Track 6: Dr. Octoroc – "Bad Horse Chorus"
I remain convinced that Dr. Oct is incapable of creating a bad track.

Track 7: Mr. B, The Gentleman Rhymer – "Beats, Rhymes & Manners"
Because we Yanks can never get enough chap-hop.

Track 8: Tom Milsom – "Bad Wolf Bay"
From Tom's free Trockstuff EP.

Track 9: SJ the Wordburglar – "Wordburglar"
This collab with Beatmason led to the eventual adoption of "The Wordburglar" as SJ's official moniker. 

Z's 2nd interlude: "The 2003 Hand'Solo compilation from whence it originated."
Pick up Bassments of Badmen 2. Seriously.

Track 10: Kirby Krackle – "Marvelous Girls"
From the band's self-titled debut.

Track 11: Urizen – "A New Revelation"
For fans of heavy metal, robots and cardboard boxes.

Track 12: C3PO – "C3PO Rap"
Blame Church.

Track 13: Desert Planet – "Return of the Ninja Droids"
Big ups to DataVortex for turning me on to this one.

Track 14: Adam WarRock – "Up and Adam"
An amazing cut from his phenomenal The War for Infinity.

Z's final interlude: "And that actually plays into our closer."
Inverse Phase's cover of "Fuck You" is a thing of beauty.

Track 15: The Kleptones – "Jump You Fucker"
This is the second mash-up featuring elements of Van Halen's "Jump" that I've played in recent months.

I only have one new order of business, and it is as follows.

I already have my preliminary list of song requests and voicemails to be included in episode 100 – would you like me to share it with you (so that you can make some last-minute requests if your faves have not yet been represented), or would you rather be surprised?

Totally your call.