Radio Free Hipster Ep. 118: The Who Knew Mixtape

So apparently the concept of a bunch of guys getting spectacularly drunk and recording it on the internet is inherently flawed.

Yeah, I know; I'm as surprised as you!

When I started Drunken Podcasting Month some 4 years ago I knew it came with some risks, and the chief among those - aside from, y'know, liver damage - was a unique set of technological hurdles. Even when dead sober, a Skype call can be positively fraught with problems.

This year the boys and I managed to hit that perfect level of intoxication wherein the conversation was fun and fierce, but, sadly, not all of the recordings of that evening's festivities survived intact. I salvaged most of it, but not quite enough to do the episode justice.

Therefore I present to you this unexpected mixtape show. It's not what I wanted, but I reckon it'll do.

The musical selections are, if I do say so myself, superb, and I'm pretty sure if you just get sloshed while listening to it you'll have as much fun as we did.

Download Radio Free Hipster Ep. 118: The Who Knew Mixtape [hosting provided by Antisoc] Size: 90.5 MB Running Time: 57:01 Subscribe to RFH

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Were Beefy and Spellah drunk when they recorded this track? Probably not, but they should've been.

Track 1: Illbotz - "Jesus Gave Me Water (But What I Wanted was a PBR)"
I've been waiting forever to play this one!

Track 2: Toolshed - "Irish Car Bomb Pt. 2"
This is another track I've been saving specifically for Drunken Podcasting Month.

Track 3: Hypnotic Clambake - "Tie Dye"
Matt made this very special song request. That explains the distinct hippy undertones. ;)

Track 4: Community dialog / DJ Le Clown - "Evil Whisky Bar"
I've been watching a lot of Community lately. If you haven't been, shame on you!

Track 5: Mikey Mason - "Too Fat To Troop"
At some point I began working food-related songs into the drunken podcast. I don't remember why, exactly, but in my defense I was probably drunk.

Track 6: The ThoughtCriminals - "Liquid Happy (Live)"
I played the studio version of this cut a few episodes back, but I thought this live take worked well within this show.

Track 7: Community dialog / YTCracker - "I Got the Product"
You can buy drugs on the internet! For reals!

Track 8: Mary Prankster - "Breakfast"
Another one of Matt's selection. Mary is sort of a DPM tradition.

Track 9: Torrentz - "Cereal (A Day in the Life) [feat. Mr. Spastic, Klopfenpop, C0splay, and Marc with a C]"
I know some folks disagree, but I love Marc's weird twee pop part at the end.

Track 10: Marc Gunn - "Monahan's Mudder's Milk (Firefly Song)"
This one's for Church. I'd played it previously on my GeekDad podcast, but this is its Radio Free Hipster debut.

Track 11: The Doubleclicks - "Worst.Superpower.EVER."
Apropos of nothing, I really like The Doubleclicks. A lot.

Track 12: Edison - "Armetis versus the City"
My pal Larry sent this one my way. It is an ideal track for those in need of chill music.

Track 13: Soup or Villainz - "Keyz"
This one's just in here for fun. It's SoV's take on crunk. And it is fuckin' infectious.

Track 14: Alex S. - "My Little Pony: Friendship is Magic Intro (Alex S. Glitch Remix)"
Jarod passed this one my way for inclusion in the ep. It's another great example of music from the brony community.

Track 15: DJ Paul V. - "Tequila Lip Gloss"
A repeat track from way the hell back in episode 39.

Track 16: Southside - "Cheeseburger (with Billy the Fridge)"
Another food song. This one by two of my favorite Seattle acts.

Track 17: Community dialog / nYgel - "Closing Time [Semisonic]"
nYgel continues to make some of my favorite pop remixes.

Track 18: Ilysabeth - "Fluttershys - MLP Fireflies Parody"
Church specifically asked to end the show on this one. In our original (drunken) conversation, he also waxed poetic about bronies and Friendship is Magic. It was epic.

Even though their contributions didn't make it into the show-proper, my sincerest thanks go out to Matt, Church, Jason and the lovely ladies of Social Knitworking. Thanks to you folks this was the best Drunken Podcasting Month celebration yet, and my only regret is that I couldn't share it with the rest of the nerd world.

Next up are my twin Halloween-themed episodes in October and my annual holiday and year-end wrap-up shows in December.

What will November hold? I have no idea. So feel free to hit me up with your suggestions and requests and whatnot.

The Last of the Independents

Mixtapes – everybody's got one. Okay, not everybody, but I think we can all agree that this particular art form is undergoing a definite resurgence. Some would argue that this is a proper renaissance, with what was once a distinctly underground phenomenon finding its way to new ears thanks to the magic of digital distribution. Consequently others would argue that it's a death knell for yet another classic hip-hop touchstone, ironically for the very same reason.

Me? I'm a bit of a pragmatist, so I am content to sit back and watch this paradigm shift in action without getting my panties in too much of a bunch. Assuming, of course, that I find the end result enjoyable.

The Browncoats Mixtape, the newest release from Adam WarRock and Mikal kHill of The ThoughtCriminals, is an ideal example of this next gen concept. Not only does it channel the classic DIY ethic of the mixtapes of yore, but it manages to use the nerdcore parlance of sci-fi fandom to push the project into exciting new territory.

Browncoats starts off with the perfect setup, a slice of Kaylee/Shepherd Book dialog ("Come With Us Intro"), that segues into proper opener "Firefly," a song that captures the strength of beauty of both the titular series and its infectious theme music. It's a statement of purpose that is easily among the release's strongest efforts, and both WarRock and kHill – two guys that I have long admired for their output as well as their work ethic – hold the track down beautifully. It certainly has some additional significance even outside the confines of this mixtape, but I shall expound upon that later.

"MAL" is the first direct tribute to a member of the Serenity crew, a motif that's carried throughout the breadth of the project. Again mixing dialog clips and kHill's expertly cribbed soundtrack-based beats with Adam's stellar storytelling, it ups the energy as we move into the delicate "River Interlude." This homage to the younger Tam is a mish-mash of fiddle hooks, jangly keys and ethereal chiptunes. Adam gets ahead of himself lyrically a time or two, but he manages to maintain that requisite deep space swagger.

The shift from "River" to "Preacher Book" is expertly handled, and what would have otherwise been a jarring transition feels natural and enticing. A dash of lyrical existentialism makes for a fitting study of the most fascinating member of the Firefly family, and, though the chorus is a little simple for my taste, it is suitably touching. "Still Flyin' (Kaylee's Theme)" is as delicate as "Preacher Book" is direct, and it also signals the duo's strongest break with traditional hip-hop conventions yet. Sure, rap-singing isn't exactly unheard of – even Weezy does it – and neither is the inclusion of a delicate acoustic, country-tinged backing, but there's something about the way these elements mix with the sparse beat and crystal clear production that make this one sound particularly innovative when contrasted with more traditional mixtape fare.

The "Wash Interlude" – which reps my personal favorite space pilot – and its follow-up "Leaf on the Wind" continue this departure. With Adam exploring his breathy high-end and Mikal adding in delicate chorus vocals, it's certainly an odd duck on a rap release, but – after recovering from the initial shock upon hearing the track leaked a few weeks back – it has quickly found a special place in my heart and in my regular playlist. Though probably not the mixtape's strongest selection, it is a personal favorite for reasons too numerous to mention.

The change-up to "Independents" is a little rough, but the low-key lead-in belies an energetic delivery from both Adam WarRock and Tribe One. The spacey funk of the instrumental backing also contrasts beautifully against the song's punk rock ethos. It's another song that, while easily at home on the release, has undeniable significance outside its conceptual framework. It is also likely the very highest of The Browncoats Mixtape's high-water marks.

The "Out of Gas Interlude" takes us to "Out of Gas" featuring Canadian hip-hop superhero Jesse Dangerously. The minimalist drum tracks hits a little too brassy for my taste, and it's not exactly my favorite Jesse D guest spot, but the song still manages to satisfy with its blend of bleakness tempered with hope. Finally the "Jayne Interlude" marks our decent back to Earth, and "Vera" alby reps Mr. Cobb's preferred firearm – "a Callahan full-bore auto-lock with a customized trigger, double cartridge and thorough gauge" – with the help of The ThoughtCriminals. It's much more of a straight-ahead rap joint than many of the songs before it, but it still retains the mixtape's eclectic sheen.

Ultimate closer "Objects In Space" returns to the haunting, ethereal sounds of the deepest, darkest parts of the 'verse, but it's driving percussion paired with snippets of Whedon's own words set the stage for one of Adam's most blistering deliveries yet. Lyrically it is challenging, thought-provoking. It is, in short, a stunning, weighty ending to a thrilling ride.

There's a lot to be said about The Browncoats Mixtape. It is at once a love letter to the Firefly/Serenity property (and, by extension, its fans) and a musical meditation on the nature of independent art. It's about struggles and missed opportunities. It's about failures and untimely departures. But it's also about triumphs. Maybe not those major victories that win wars and garner fortunes, but about the real successes of the day-to-day. Making your own way, building a family, maintaining a sense of self even in the face of derision, that one perfect moment of proper realization that reassures you that you're comfortable in your own skin – these are the victories it celebrates.

Yet even beyond this The Browncoats Mixtape succeeds. Not only is it conceptually sound, but it's equally well crafted by its creators and guest artists. It sets a gold standard for the nerdcore mixtape, but, regardless of the trappings of that particular style, it is also a triumph of the broader hip-hop artistry. By abandoning soul hooks in favor of country and western flare and record scratches for the bleeps of minimalist electronica, it reminds us that there is always more to hip-hop than we may initially think.

Moreover, in its earliest moments The Browncoats Mixtape manages to make the most delightfully subversive statement I've likely ever heard in a rap track. Sure "fuck tha police" and "911's a joke in yo' town" were revolutionary statements in their time, and they continue to hold weight even after years spent floating around in the public consciousness, but the lyrical salvo of Adam WarRock's "Firefly" manages to trump all:

Maybe you weren't a fan of westerns or the FOX channel / Maybe you hated rap music; that's understandable / Maybe it opened your mind for all to see / And now the sky is a place where you long to be free.

Much in the way that geeky fan culture exists to reinforce the passions of a property's enthusiast, hip-hop culture exists to celebrate its legacy and propagate its message. There is a unique brand of pride and stewardship that I have long admired amid the heaviest of heads, but even this comes at a price. We have managed to convince ourselves across countless generations of philosophical, religious and political thought that, if an idea is to be truly strong and legitimately important, it must be sacred. And this is our folly.

I've seen many a studious rapper recoil in disgust when told by a fan that they "don't like rap, except for you." Because to be a hip-hopper is also to be an evangelist, and to be an evangelist is to be a true believer. kHill and WarRock, however, turn this idea on its ear within the mixtape's first track, and they continue to deconstruct this most fundamental ideal throughout The Browncoats Mixtape.

They admit the unthinkable: that it's okay not to like rap. But therein lies a glimmer of hope. Just as it was okay for future fans of Firefly to come into the show with no prior understanding of or particular fondness for westerns or the space opera, it is also perfectly acceptable for non-hip-hop heads to experience The Browncoats Mixtape. Perhaps for some it will prove a gateway to a myriad of additional rap-related artists and projects, and I can't help but think that this is part of its grander design. But if you're just content with this singular exemplary musical experience, that's shiny as well.

"Staying DIY 'til we d-i-e!"

I Hope Ya Don't Mind

It's Friday, which means that – and this is highly dependent upon whom you ask – I am either in love or presently kickin' in the front seat. For the record, both of these are true. So, y'know, either answer would be correct.

No pressure.

Personally, I'm rather hoping for a low-impact weekend. A cursory look at my to-do list reminds me that I have a haircut scheduled and that I need to wrap up my review of Adam and kHill's Browncoats Mixtape, neither of which is a particularly unpleasant tasks. I also have a terse reminder to "buy booze" taped to my monitor, which can only mean that this weekend will also see me taking part in some drunken podcasting. Which, as you know, is always a good time.

This is all to say that I hope you have a pleasant weekend. And to help you kick that shit off, here are some Fraggles. Also some DJ Kool.

Tip o' the hat to @cdharrison for this one!

Ultra Mega Mega Man

I think we can all agree that there is an absolute dearth of Mega Man-inspired projects available in today's VGM marketplace.

Okay, that level of sarcasm borders on dick-holery, so I'll restrain my inner snark beast. For my own sake as much as yours.

Sure, you've got your Protomen and your Mega Rans and your Megas, and you may be wondering if you really need any more music inspired by Capcom's Blue Bomber. But you do. You really, really do. Because the latest in Mega Musics comes from our friends at OverClocked ReMix.

Mega Man 9: Back in Blue boasts 2 discs worth of fine tunage, accompanied by liner notes, lyrics and artwork. And, since it's from OCR, of course that bitch is free! Further, it was organized Dustin "k-wix" Kulwicki, a name that Cave Story fans should recognize, so that provides yet another level of awesome.

Check out the teaser vid below, and then immediately head over to the project site to make with the downloadin'.

Hard Cor

I hear a rumbling from the west, my friends. There is a storm brewing, a musical tempest with over-sized eyes, gravity-defying hair and flamboyant outfits. Surely this can only signify that the otaku army of the Ultraklystron camp is mobilizing!

For Karl himself this means a leak from his forthcoming release Animatic. The track is "Lifecycle," and it concerns itself with ethical living, a subject that's broached less often that it should be within the confines of hip-hop.

ultraklystron - lifecycle by karlrolson

For his longtime collaborator Rai, however, it means something even rarer: a Kickstarter campaign.

The duo is attempting to generate enough capital to streamline the recording, production and distribution of her new album Cor Leonis. With an ultimate goal of 5 grand, it's a pretty hefty undertaking, but anime nerds have nothing if not deep pockets.

In order to help motivate those of the Japanophile set to part with the hard-earned scratch from their Pocky funds, our heroes received a little help from local fan extraordinaire Jarrod in the form of the below handsome video. Give it a look and marvel at the colors of Rai Kamishiro's world.

Literally. 'Cause that shit is orange.

After you've done that, please consider chipping in to help out with the album. She is, after all, the only nerd musician to ever inspire her own religious cult.

Land of the Lost

Recently I came to the startling realization that if I respond to an email, the person on the other end will, nearly without fail, write back – further contributing to the catastrophe that is my inbox. What I'm saying is that this shit is a vicious cycle.

The same goes for album reviews. I get a new disc, listen to it and write up my thoughts, and then, goddamnit, another album arrives on my doorstep!

I'm being facetious, of course, as the last thing I want is for people to stop recording and releasing music. I mean, what would I do with my spare time then?

Still, there are always albums that, as good as they are, tend to fall through the cracks. They are projects that, though they become a steady part of my musical diet, I often fail to expound upon in a timely manner. Thus every once in a while I am forced to comb through my playlists and highlight the releases I have neglected to promote with the requisite gusto.

This is one of those times.

What follows is a bit of spring summer early autumn cleaning on my part. It focuses on a trio of albums that managed to hit hard and make distinct impressions on me over the first half of 2011. I just sort of forgot to mention how awesome they are.

My bad.

Robots. Lasers. Awesome.

Nathan Meunier is, among other things, my journalistic homeboy. He is also a bit-popper with a distinctly grimy lean. His Robots. Lasers. Awesome., which I've been sitting on since March, proves as much by kicking off with the dark and aggressive "Doomlaser" before slowing down into the vaguely dub-tinged "Chasing Satellites."

From there the album goes off on a number of odd and interesting tangents, but driving chiptune melodies punctuated by even sharper guitar hooks are the order of the day. Whereas joints like "Iterate" channel The Cure into lo-fi electronica, "Nerd Rock" instead paints itself as a retro game soundtrack with traditional musical accompaniment.

The album slowly builds across 8 tracks to the amazingly evocative closer "Portal of Solitude" – it's rather desperate and somber, and, like the rest of Robots. Lasers. Awesome., manages to communicate real emotion despite a total absence of lyrics.

If you're looking for a solid instrumental soundtrack to your workday, some late-night driving music or if you just wanna explore a new hybrid music act, give Nathan a listen.

Villainz for Hire

Viet Vu reached out to me about Soup or Villainz's Villainz for Hire back in April, and it admittedly took a while to grab me. After a few listens, though, I began to grok the group's dynamic; SoV exists somewhere between the smart-ass swagger of Southside and the self-effacing nerdery of Death*Star. It's a strange position, sure, but one that only they can fill.

Vu's lyrical high-end was the initial turn-off, but once it got its hooks in me I realized a very prevalent blend of aggressive punches and comical follow-ups that even now puts me in mind of Childish Gambino. Remison, his coconspirator, holds shit down on the other end with hints of both West Coast and Deep South styles in a Midwest spit that is always on-point. Individually they've got talent, but together they are a two-headed geek rap juggernaut.

"Game to Play" and "The Code" represent fine examples of the Villainz's own take on gamer rap – a well that they seem all too willing to visit – with the latter boasting ample amounts of soul thanks to in-house hook machine Danyeal McIntosh, who also adds a shot of sultriness to the surf guitar-inspired "Gamer Tag." The VGM thing isn't their only trick, though, as the group takes on everything from relationship woes ("Only Option") to anthemicly braggadocios bangers ("Soup or Crazy)" across the breadth of the release.

The album's become a go-to release for me – especially "D.K.," which, though it makes for a slightly unsatisfying closer, has a chorus that's nothing short of irresistible – so I definitely suggest you give it a spin. Cheap-asses can also cop a half-size EP version of this disc for free from Scrub Club which features, among other tasty cuts, the project's blistering, if unfortunately short, "Intro."

The Lost

More recently Thomas from Hand'Solo Records hooked me up with the latest from long-lived Canadian hip-hop clique toolshed. Originally a loose collective of MCs and DJs, the toolshed of today is a more streamlined affair. Consisting of old friends Chokeules, Psybo and Timbuktu, it's now a hip-hop power trio in the classical sense.

Originally recorded after the release 2006's Relapse, the basis of The Lost is material from the titular lost album with a twist. Tim worked his production magic to incorporate new remixes and collabs in with the classic material, and the final result is a perfectly enjoyable slice of intelligently constructed rap that's also unafraid to appeal to the baser nature of your inner teenage hell-raiser.

Opening strong with "Peppercorns" and "Rock N Rule," the guys dive headfirst into funk-rock hooks and razor-sharp cuts. Guest stars abound on the phenomenal (and aptly named) "Round Table," and Ghettosocks' turn of "Hit 'Em With His Running Shoes" stands out as the kind of cameo that would shame most host artists. Thankfully the toolshed is composed of sterner stuff.

As flexible as they are talented, the 'shed excels at both bringing the proverbial pain to the idle youth – on not one but two different mixes of "Clubsuck" – and keeping the part alive with proper drinking anthems – "Irish Car Bomb Pt. 2" and its late album analog "Irish Tiger Balm Pt. 2." And their feats of instrumental strength and verbal stamina don't stop there.

Clocking in at 16 tracks of hip-hop for heads of all stripes, the album never misses, but that's not to say I don't have my favorites. "Flavor Saviors (remix)" brings in shades of BDP that can't help but satisfy, and the closing salvo of "Dream Team (Bix rmx)" and "Final Round (original version)" stand out as some of the strongest selections to come out of the always impressive Hand'Solo catalog.

Radio Free Hipster Ep. 117: Man-Date with Destiny (Adam WarRock Special Edition)

In this very special episode I throw the age-old Radio Free Hipster formula right out the window! I've been slipping with regard to regular featured interview posts – the recent mc chris piece notwithstanding – so I made it a point to grab at least one audio interview at Nerdapalooza 2011.

The subject of said sit-down was Adam WarRock, and, rather than transcribe it, I elected to cut it up and intersperse the dialog with relevant musical material.

You could call that laziness, but I prefer to think of it as innovation.

This podcast format is a bit of an experiment for me, so please let me know if you'd be interested in hearing more shows in this vein.

Special thanks to Eugene for taking the time to gab with me. And to you, of course, for checking it out.

Download Radio Free Hipster Ep. 117: Man-Date with Destiny (Adam WarRock Special Edition) [hosting provided by Antisoc] Size: 28.6 MB Running Time: 22:02

Show Notes:

Intro: Baddd Spellah - "Radio Free Hipster Theme (feat. Beefy)"
I thought about fucking up the intro music a la the mixtape episodes, but decided against it.

Track 1: Adam WarRock – "Bipolar"
Probably my favorite joint from Adam and Tribe's latest Paper Cutters & Dangling Headphones. It was recorded at Icon Studios in Atlanta, and the level of polish is superb!

Track 2: Adam WarRock – "Leaf on the Wind (feat. Mikal kHill)"
Adam and kHill leaked some of this song on YouTube last month, but they were nice enough to let me premiere the track in full. Thanks, brothers!

Track 3: Adam WarRock – "The Silver Age (feat. Tribe One)"
This one is sort of Adam's mission statement. A stand-out track from the debut full-length that still stands up beside the best of his more recent output.

Track 4: Adam WarRock – "Epilogues"
Picking a closer for this 'cast was simple. It's from the Irrelevant Vol. 1 collection, that you, sadly enough, may have missed. If so, please rectify this most grievous error.

I've always thought about doing artist-specific podcasts, but I could never find a suitable angle. The hybrid music/interview thing seems to work, though. I mean, at least I think it works.

As always, you in the listening audience are the ultimate judge.

I certainly hope you dig it, and I similarly hope you'll join me in a few weeks for my annual Drunken Podcasting Month special. This time around I think Matt, Church and I are expanding our circle. Because you can never have too many drunk nerds on a Skype call.

I hope.

Stumblebee is my Copilot

Because I love you – and because somehow this vid has only garnered 30ish views at the time of this posting, which is a fucking travesty – I would like to share with you a live cut from Supercommuter's PAX main stage debut. It's a very special track, specifically Stenobot's remix of Optimus Rhyme classic "Obey the Moderator," with a very special guest, the one and only Stumblebee.

Please Like It, favorite it, repost it and do all you can to disseminate its awesomeness throughout the interwebz.

You have your mission!

The Decider

Counting this post (and our recent pow-wow on the GeekDad HipTrax podcast), I have interviewed geeky rap mainstay mc chris four times – more than any other single artist. This is interesting considering that mc is still often thought of as having a somewhat negative view of nerdcore, a term that is very regularly associated with my writing in general and this blog in particular. But that little aside is, alas, rather unimportant in the grander scheme of things.

For me, at least, what has typified each of my exchanges with mc chris over the past four or so years is his willingness to share. I fire off a lot of questions to potential interview subjects, and I always make it abundantly clear that he or she can ignore any that seem especially thorny. mc never seems to pick and choose.

He shoots back his gloriously uncensored responses generally within the span of a couple hours. And, while such candor can lead to some sticky situations, it does afford a proper look into the mind of the artist. It lets me as a writer and, hopefully, you as a reader truly grasp where mc is coming from at any given time.

He might not always give the responses you'd expect hear, but he always does it with a brand of wry honesty that has come to define him across his decade-long career.

--

When last we spoke you were preparing for the release of Marshmellow Playground. What was the fan reaction to a kid-friendly album from the generally foul-mouthed mc chris?

Awesome! A lot of my fans have been listening to me for ten years and in that time they've gotten married, had kids and now they want mc chris music they can listen to with them. I did it just as vague reference to the fact that George Miller gave us both Mad Max AND Happy Feet, two very different films.

I found that the reaction was awesome, except for the people that stole it and didn't know what it was. They were like, "What happened to you man? Rhyming about mommies and daddies and shit?!? You fell off!" Thankfully, families loved it and I got more than a bunch of reports about it helping kids learn to brush better and go to sleep. Lots of parents used it for car rides to school. It came in handy, so I'm excited to deliver the much longer sequel Marshmellow Campground in 2012.

You wrapped up last year's mc chris Goes to Hell with a "teaser trailer" for your soon-to-be released full-length Race Wars. Was the Mad Max-style musical concept already fully fleshed out by then, or were you just shooting from the hip with that closer?

Well, I had the album title for a long time. Since the Williams Street days. It gets referenced on all the old shows, but they're talking about all the races breaking up into groups and fighting for supremacy. I thought it would be more fun if it was about cars that are all racing each other. A Star Wars on the road.

I started to really develop the idea after seeing my nephew go nuts for cars. It reminded me of my own fascination with cars as a kid in the 80's. Every show had a car: Magnum, A-Team, Dukes of Hazard. And we loved the Cannonball Run series. It allowed us, in our own minds, to let anyone race with each other. Indiana Jones could race against James Bond. We picked the cars first, and then we picked who was driving in them. I think before computer generated effects, the most bad ass thing a movie or a TV show could do was show a car screeching around a corner. After touching upon things like Star Wars and GI Joe, I was excited to go back and investigate another facet of my toy-rich childhood.

As for it being a Mad Max thing, I think it just came to me as I wrote. The Ninjas vs. the Projects thing was thrown in there to emphasize Marshmellow Playground's innocence. We then just hit all the beats of a trailer. I recorded like 30 random things and then we went back and cut it up and threw in John Gemberling and Todd Hanson as well, who is the Senior Editor of the Onion and Dan Halen on Squibillies, by the way.

Your choice in instrumentals has changed a lot over the years, from the decidedly punk slant of Life's a Bitch and I'm Her Pimp to the classic DJ John era to the crazed pop of mc chris is dead and Goes to Hell. Musically, what can fans expect from Race Wars?

More instruments than ever before. New drum sounds. New instruments I can't pronounce from other countries I can't pronounce. Some fan made tracks. I can't really reveal what I did without spoiling it, but I can say that the album starts out very different and then goes into familiar territory.

I worked with some amazing musicians. They're on so much cool stuff it's crazy. Like they did the music for Red Dead Redemption, and you can hear a little bit of that sound in the track they did for me, "Tarantino." They were sending me all kinds of stuff. And my requests were varied, to say the least. The people that worked on this record definitely did this on the side. I'd be like can you we work on this tomorrow and they'd be like I have to tour with TV on the Radio or go be on Jimmy Fallon. The whole time I felt like it was so cool that they thought my little record was worth focusing on. And not only did they make music but they knocked it out the park. And Andrew Futral returned to corral all the music and turn everything into mc chris songs. We kinda eat music and then spit it out all fucked up.

He also supplied lots of original songs this year that I like a lot. Listen to music he normally does (The Age of Rockets and Field Mouse) and tell me he doesn't do a 180 when working with me. It's like he's living a double life. Half the time producing female vocalists or he's touring the country backing up famous chicks and the rest of the time he's making some of the most catchy inventive underground hip-hop out today.

What about lyrically? Any recurring motifs or fresh vocal ground covered in this new material?

We definitely touch upon the nerd motif. I already leaked "nerd cave" which is kind of a bare bones description of a modern day nerd's life, living in a small apartment, not going out. It's not that cheery. But the song surprisingly is. Caves is a motif on the album. And bears. That's all I'll say about that.

An mc chris album has beats too, and we try to hit those beats. Some fun stuff in the beginning, some serious stuff at the end, a love song and skits. Way too many skits. Which people will at first hate, then love, then quote. Or at least, that's how it's gone every record so far.

Are you finally through with bounty hunter on vehicle songs, or do you reserve the right to sneak those into future releases?

You have to wait to hear. There's a new subject that I've taken up, it's NOT Star Wars but I think it's going to make my fans really happy.

Recently "hoodie ninja" made its way into a Honda Civic ad campaign. Was there any "sellout" backlash associated with such a high profile project, or has the taboo surrounding the licensing of music for commercial use finally been laid to rest?

Of course, but I think the people that make those comments just kinda look not-as-smart-as everyone else commenting. Most folks were like, "Congrats! Ten Years of hard work and now you have something cool to show for it!" It's very validating to exist in your own right without corporate help, but it's also nice to be acknowledged. You feel less invisible. And that commercial played everywhere, before just about every movie that came out this summer, prime time every night.

Blink 182 is on a Honda Tour right now and my song plays right before they come out. That's just cool to me. And I think it was a fun moment for a lot of long time mc chris fans to say that's my boy! I got a lot of flack for saving the money and not doing anything with it. But I have no idea how this all plays out and I want to be smart.

The recently announced Race Wars tour boasts a really impressive lineup; you're sharing the stage with MC Lars, Random and Adam WarRock. Did you decide early on to make this a more rap-centered tour, or did it just come together on its own?

I like to go with what works and then give those last two slots to some folks that deserve a chance to show everyone what they can do. I think this tour will be an eye-opener.

Former tour mates I Fight Dragons were signed by Photo Finish/Atlantic Records in 2010, just months after the conclusion of your tour. Is a traditional record deal still something to which you aspire, or are you content to continue to do your own thing in your own way?

Congratulations to I Fight, honestly. I would like to think getting that opening slot does indeed get you attention.

It's just not my way to leave things up to other folks, like labels and management, that don't care as much as I do. I have a firm base that I can launch anything from a book to a cartoon, I can make records whenever I want and I answer to no one but the fans. I prefer the freedom and the anonymity that allows me to create with abandon. Bands get dropped because they're numbers don't match up with projections and then they split up, or maybe they split up because they didn't get signed. After a flash in the pan is long gone I'm still gonna be on Facebook announcing new records and new shows. I decide when it ends and that means everything to me.

You're now a solid decade into your musical career. How has the landscape changed for the indie artist since those early days?

Well everything I did in the beginning that was so fresh and cool and innovative is now common practice with just about every artist. I see quantity has started to matter more than quality with mixtapes becoming the standard.

I feel older and older, like I'm doing a form of hip-hop that no one even recognizes anymore. I grew up on Native Tongues and Public Enemy, the Pharcyde. Now I find myself trying to imitate the sounds of the rappers of the turn of the century. The dirty south beats before Dungeon Family came into play.

I definitely hate the new rap. Or at least I can't get into it cuz all the hooks suck or are nonexistent. Smaller rappers are trying to rhyme faster but no one knows what they're saying and older, bigger rappers are trying to act like they invented rap when they definitely didn't, they're just rapping in a bow tie.

When I was in Junior High I dressed like all these hipsters do now, pretending it's the 50's, wearing plaid shirts and sweater vests. Of course I got made of fun of. But now it's hip as fuck and everyone is trying to copy the hipsters that were copying the Japanese and the tattooed rednecks in Atlanta that dressed like that before them. I take pride in the fact that I stick to what I know and every once in a while it becomes extremely popular.

I've had quite the summer on Twitter where I get told at least once a day that Kreayshawn and Nicki Minaj sound like me, "but not funny." Well... at least I'm funnier than Nicki Minaj.

Earlier this year you handily used Kickstarter to generate some capital for a very special project. What's the status of the mc chris cartoon?

It's very secret and very safe. My artist Nate Bellegarde worked his butt off all summer drawing some awesome stuff. We're bringing to life a bunch of things that I think my fans will appreciate. I meet with Titmouse before I leave for tour and we discuss the storyboards. I'm hoping to show everyone a trailer at Christmas. The backers have been getting the inside scoop all the while which is super fun, kinda like a secret club with decoder rings. So far everyone has been keeping mum pretty well. The trick is to keep it under wraps.

You also expend an awful lot of time and energy collecting donations in the name of your nephew Murray to fight CF. How much money have mc chris fans generated for the Cystic Fibrosis Foundation over the years?

I'm proud to report that we passed the $100,000 mark this summer. I'm trying to raise money every week selling anything of mine that isn't nailed down. This week I announced that this huge Captain America box from Hasbro that is up for bid on my eBay sale for CF has the first copy of Race Wars in it. I think it's at like $300 bucks now. When I send stuff out I try to include lots of what I call, "loot," candy, Legos, Magic cards. I want to make a bad day awesome with some surprise goodies and I also want people to see that doing something good can result in cooler crap happening.

You covered "I Lost on Jeopardy" for the Twenty-Six and a Half Weird Al tribute, and you previously covered his DEVO style parody "Dare to Be Stupid." How big of an influence was Al on your particular brand of humorous music?

I never got an Al album to honest. But I grew up on MTV so his videos definitely taught me parody. I remember singing, "Smell my feet!" to the GoGo's "We Got the Beat" at Summer Camp when I was little. So his influence goes back to my very early days of being an asshole.

For comparison, mc, you and I are the same age, but while you're touring the country I am decidedly stationary with a wife and two kids. Will mc chris ever settle down to a life of quiet domesticity?

Yes. As soon as possible.

Lastly, you've got an album ready to drop and a new fall tour all lined up. What else is coming down the pike from mc chris?

A song where if you memorize it you will know all the US Presidents.

--

Is it weird that I hope that last answer means mc is covering Animaniacs' classic "The Presidents?" Probably, but I digress.

There was a time, in the far-flung days of yore during the height of their "feud," when fellow nerd rap pioneer YTCracker stated that, while he and mc chris failed to see eye-to-eye, he still "respected his hustle."

There was something oddly prophetic about that statement. Because now, years later, mc has managed to endure by doing just that – by making his own way through the generally fickle and surprisingly hostile landscape of modern music. By approaching recording, touring, marketing and fan interaction in his own indubitable fashion. By staying on that proverbial grind. And it has served him well.

With more than 10 years under his belt he has managed to make an indelible mark on not only the geek culture that is so often evoked in his lyrics, but also on the broader pop culture. His is the unique voice that crops up on television commercials and movie soundtracks, instantly recognizable even if not always expected.

Love him or hate him, Christopher Ward is now and forever your favorite rapper's favorite overblown cartoon avatar.

He is "the high-toned honky." He is MC PeePants. He is a zombie and a wizard and a bounty hunter and a basket case. He is mc chris, and he is in control of his own destiny.

And he is most certainly funnier than Nicki Minaj.

Birthday Wishes

So I was on the Facebooks this morning – I'm not proud of it, but it's where my little bro Roach chose to post his Dragon*Con pics – and I noticed that this is the birthday of a certainly notable nerd MC. San Diego's Doctor Awkward, of The BossFights and, um, simply being fuckin' Doctor Awkward fame, turns 24 today.

Though I'm not sure if it was explicitly planned, his birth-iversary also coincides with the release of a hot new single. Not to mention a snazzy new logo. Both are on display over at Bandcamp, but I've embedded 'em below via internet magic.

Listen, enjoy and be sure to give the good Doctor your best on this, the day of his birth.

Feeling Scientific

When I first heard Weezer's nigh-ridiculously named third self-titled release I was struck by the staggering revelation that, while I had grown up a lot since the 1990s, Rivers Cuomo had not. This isn't to say I didn't dig the album, or even that a writer necessarily needs to ripen emotionally in order to craft enjoyable songs. Where, for example would Trent Reznor be without his angsty and eternally adolescent rancor? But it does drive home a point about the sometimes tenuous place of the mature storyteller in popular music.

On the other hand, even since the earliest days of Optimus Rhyme, lyricist Wheelie Cyberman has had that rare ability to impart a musical narrative – no matter how fantastical – in clear-cut (if not always concrete) terms. With both emotion and restraint. With both whimsy and wisdom. In short, he tells a story like a storyteller, like a true seasoned wordsmith. His songs have heroes and villains, triumphs and fuck-ups, and he as narrator is just as likely to represent one side of that coin as the other. This means that even when a track takes place in some imaginary world populated by groove-hungry robots there still exists a level of honest realism.

The instrumentation of the Optimus lineup did a lot to play to this strength. Beneath the soul-funk rhythms and punk rock attitude there was a strong undercurrent of blues, the backbone of the American musical tradition: an unpretentious music that shares a universal message about life, love and loss with a distinctly timeless gather-'round-and-hear-my-tale aesthetic.

After that project dissolved Wheelie moved on to chip-hop collective Supercommuter, and their debut album still stands out as an amazing example of not only his unique rap style, but also as a kind of logical next step in his previous band's science fiction-y lean. The addition of chiptuner Stenobot (holding down the instrumentals) and his brother Tron Juan (whose ear for production pulled the whole thing together), assured that Supercommuter proved itself an exemplary effort. But that album, by the admission of the band itself, was a bit of a sonic experiment cobbled together from pieces of songs the guys created during hours lost in traffic going to and from their respective day jobs.

Their recent follow-up, Products of Science, builds on the data that our heroic bots collected from this preliminary study. While fans would've certainly been satisfied with more of the same, Supercommuter pushed themselves on all levels, and the release is all the better for it.

Opening with "The Commute Continueth," a clever reference to the original album's starter track, the guys ably employ the sharp and resonant blips of the classic Game Boy, but even from these early moments something is drastically different. Brighter and noticeably more cohesive as it transitions to "DMG We Trust in Thee," there is much more in the way of melody, both vocally and instrumentally, than the band has previously displayed. Amid rapid-fire verses and a gorgeously textured chorus, "DMG" explains the group itself; it smashes the sonic fourth wall somehow without ever losing its darkly futuristic edge.

The warbling, dissonant groove of "It is Splendid" quickly morphs into a genuine hip-hop banger with appropriately spacey singing and a quick drop-off that takes us back to earth for debut single "#1 Kyabajo." Thick and twisting, thanks in part to an enchanting counter-melody and a fierce breakdown, it drops the band's established sci-fi pretense.

This extends into "Wheelie's Lament," a song that sees the MC wrestling with inner insecurities via a very public forum. (And it's also a joint that boasts a truly clever allusion to Kurtis Blow!) Then an unceremonious shift takes us back to the world of Wheelie's space bound alter-ego in "Frozen," a heartbreaking tale of interstellar travel, loneliness and creeping madness.

The tone changes quickly with instrumental "Script Kitties," a four-minute marathon of erratic beats and churning LSDJ loops topped off with eerie samples. It's the perfect prelude to the ultra-violent "Robot Party," a stand-out cut that's only slightly diminished as a known property; it was previous released on the first Nerdcore Now compilation.

"Natural Immunity" pairs Wheelie's motor mouth and Stumblebee's drunken baritone for the first time since the demise of Optimus Rhyme. It's also likely the music world's most upbeat post-plague narrative. "FF45" sounds a bit like a throw-back to the previous album, with an odd layering of vocoded singing and straight-ahead rap that fails to gel early on, but later turns into the project's most vivid story-song. Touching on the recurring motifs of isolation, the marriage of man and machine and the potential horrors of technology, it's complex but easy to love.

"We're Watching You" breaks tradition by relying heavily on acoustic guitar (although the electronic elements are still readily apparent.) Another stand-out, it retells Clarke's Childhood's End in exquisite detail, capturing both hope and misery in sharp detail. From there Products of Science draws to a close with "Victory Song." As upbeat as the name implies, it marks the album's end in true 8-bit style and genuinely channels that rush of "beating the game."

As I've already mentioned, the title of Album of the Year is already hotly contested. It's a crowded playing field stocked with veteran songwriters pulling out all the proverbial stops to wow those of us in the listening public. Still, amid all of these Products of Science stands out among the best of the best.

With a magical blend of innate talent and savvy construction, the album truly mines the breadth of the genius that is Supercommuter. Wheelie remains, as ever, one of my favorite voices from the hip-hop underground, and Stenobot makes a DMG sing like no one else I've heard. Add to this Tron – a guy who always seems to know how to pitch-shift a vocal run or strip down a beat for maximum impact – and you have what is likely the most commanding and unorthodox power trio in the entire spectrum of geeky, techy music. Products of Science not only sees the chrome of these three androids shine the brightest yet, but it also pulls in amazing support staff in the form of pitch-perfect vocalists like Rachel Haden and Jen Wood (the wife of the band's own Tron Juan) for added flair.

Dark, introspective and representing a more refined approach, it's an album that will likely move a lot of copies, but probably not as many as its level of quality genuinely warrants. So pick one up. Shit, pick up two! All the proceeds benefit the Child's Play charity. Which I reckon proves beyond all doubt that these robots, as cold and calculating as they are, still possess real human hearts.

"I remember the moment when / The machines stopped listening."

Radio Free Hipster Ep. 116: Ugly Summer

Fun fact: I actually got the title of this episode from NPR. During a segment concerning the uprisings in Libya and Syria, the riots in London and the crush of recent natural disasters, the commentator referred to a bloody, ugly summer marked by violence and destruction. The phrase stuck in my mind.

Okay, admittedly that's not what you'd call a riveting tale; it's not exactly a keen look into my creative process, but it's something. And that's more than nothing.

Admittedly, this edition closes out the season on a bit of an odd note. But then again, I am nothing if not odd myself.

Download Radio Free Hipster Ep. 116: Ugly Summer [hosting provided by Antisoc] Size: 64.6 MB Running Time: 49:08

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
It's a warm-weather jam in itself.

Track 1: Backburner - "Heatwave"
The entire Heatwave album is now streaming free at Bandcamp. Check it out.

Z's 1st interlude: "One of my go-to seasonal themes."
Skip that; I am nothing if not consistent.

Track 2: Shael Riley and the Double Ice Backfire - "Here Comes the Hotstepper"
"MURDERAH!"

Track 3: Odyssey & The DNA Team - "My Little Pony Theme (Europener Mix)"
I really need to hold off on the MLP tracks, as I reckon Church is gonna have a grocery list of 'em ready for next month's drunkcast.

Track 4: Chaz Kangas - "Young, Gifted and Chaz"
Because rapping over the theme from The Critic is never a bad idea.

Track 5: Tribe One - "Different"
I gotta give it up to Tribe; this song is beautiful. Moreover, it was just the song I needed to hear.

Track 6: Go Home Productions - "Easy Divide"
Unfortunately I had a hard time following "Different" up, but I think this track did the trick.

Track 7: the modrats - "She's an Elf"
I totally didn't realize these guys were from SC until I was compiling my show notes!

Z's 2nd interlude: "The steam and the stink of a long, hot summer."
I honestly have no idea where I come up with this shit.

Track 8: The Deftones - "My Own Summer (Shinobi Ninja Rolling Stoned Remix feat. Skoob of Das EFX)"
You must own Hashy Larry. Make it yours.

Track 9: nYgel - "Rhyme Well [Interlude]"
This one is from nYgel's latest Antique Bird Collection, a mix that ain't even out yet!

Track 10: Maniac Robot - "You Said"
Something funky happened when I was recording/editing my narration that seemed to remove my reference to the proper name of this duo. That being said: Maniac Robot.

Track 11: Mega Ran - "Pump It Up! (feat. Adam WarRock)"
Gonna be nice to hear this joint performed live on the fall tour.

Track 12: K.Flay - "2 Weak"
There's just something sort of half-depressing and half-whimsical about this one. I kinda had to wrap up the set with it.

Z's final interlude: "The Sean Combs maneuver."
Y'all know what I'm talking about.

Track 13: Jackson 5 vs. Kid Rock - "I Want You Back All Summer Long (Calmucho Mashup)"
For the record, "All Summer Long" isn't Kid Rock's worst transgression. That would be that god-awful duet he did with Sheryl Crow. That is, quite possibly, the worst song ever.

Next month we once again pause to celebrate drunken podcasting. As is tradition.

Listen for the annual RFH drunkcast in late September, with a special episode in the earlier half of the month. But I've also got plans to guest on another podcast's inebriated festivities, because Drunken Podcasting Month is truly the season of sharing!

Videodrome

It's been a big week for music videos, which is to say that it's been one of those weeks when half the messages that make their way into my inbox have YouTube links. And that's not a bad thing.

This, of course, leaves me to collect all these disparate images and compile them lovingly into a single blog post – which you are now reading.

First up is another slice of "rural American rap" from Indiana MC id obelus, or more specifically from his project Creatures of Habit. The single is called "#Swagriculture," and it's a lyrical challenge to fame-obsessed rappers of all stripes. The video was recording using a novel approach, specifically an iPad 2 and the 8mm app, and the track itself is presently available for any price point via Bandcamp.

Yet another slice of syncretic hip-hop combines the uniquely urban sensibilities of rap with a dash of down-home flair, though in this case there's also an interesting sci-fi twist. Of course I'm talking about "Leaf on the Wind," the song at the center of the second video teaser for The Browncoats Mixtape. The almost breathless delivery of Adam WarRock's vocals coupled with the sparseness of the beat is a bit jarring at first, but there's something in there that serves to make it gel perfectly with kHill's delicate chorus. Also, R.I.P. Wash. :(

The next video features a similar sneak peek into the latest from otaku rap favorite Ultraklystron. It includes snippets of 11 songs from the upcoming nerdcore album Animatic, not to mention slice-of-life photos from throughout his career. More info is available at Karl's official site, and new listeners are encouraged to peruse his back catalog (including a new best-of comp) over at Bandcamp.

And a last minute addition comes to us from UK sometimes-solo-act-sometimes-duo-now-suddenly-a-quartet Superpowerless. It's a parody of "My Moment" by infamous pop princess Rebecca Black with a distinct Where the Wild Things Are slant. It's entitled "My Wolf Suit," and eschews Superpowerless's usual chiptune leanings for a more synth-pop feel.

Sleazy Listening

We're scarcely half a day into the workweek, and I, for one, am already having trouble staying motivated. I imagine that this not an isolated incident, so I'll share with you the one thing keeping me going right now.

Spoiler alert: it's music.

My brothers Steve and Gord, of Ye Olde Bonebat Show, have assembled their own survey of musical nerdery from the Pacific Northwest. It includes Supercommuter, Klopfenpop, Southside and Billy the Fridge, boasting many-a live cut from the one and only AlienBobZ. Definitely check that shit out. And would it kill ya to subscribe?

Also, if you're a less-talk-more-rock kinda cat, Chip Banger Records has just released The Gameboy Adventure by French chip artist Flip-Flop. It marks the debut release from the Marseille native, and it is five songs of charging beats and crazy-ass 8-bit energy. It’s also a name-your-own-price release at Bandcamp, so go check it out and maybe toss a couple of dollars euros Flip-Flop's way.

Go, and sin no more.

Backalicious

The Great White North is about to get a whole lot hotter thanks to the Backburner crew. Thomas from Hand'Solo was nice enough to hit me with a pre-release promo of their latest Heatwave earlier this week, and it's nothing short of epic!

Featuring top-shelf Canadian hip-hoppers like Jesse Dangerously, Thesis Sahib, SJ the Wordburglar, Wayne Gretzky, Chokeules, More Or Les, Ghettosocks and Psybo, it's 14 tracks of flawless flows and razor-sharp cuts expertly mixed by Timbuktu and Dexter Doolittle. Stand-out joints include the one-two punch of starters "Straight Out the Vault" and "Lifers," "Show of Hands" (with its unexpectedly tight xylophone-powered instrumental hook), Castlevania-driven "Phantom Ghost" and the spacey "Freak Show Physics." Though, truthfully, there ain't a bad song in the bunch.

Check out the phenomenal title track below, and then proceed immediately to Bandcamp to pre-order your copy. Both the digital version ($5) and the physical release ($8.99) will be available on August 30th, and I can think of no better soundtrack as you while away the waning days of summer.