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that I enjoy and that’s intriguing to me as a producer is seeing what the listener’s definition is [of] our art, what they walked away [from] it with, what their interpretation of it is, so I never really make a point to say, “This record is this.” You know what I mean? I want it to touch you how it touches you. AS A PROLIFIC RECORD COLLECTOR AND SAMPLER, IS THERE ANY GENRE OF MUSIC THAT YOU COMPLETELY DISLIKE? I can honestly say I’ve never found any genre of music that I haven’t found intriguing in some kind of way. If I go into the studio with the guys, we may spend the day playing all afrobeat; we may spend the day playing all samba; we may spend a day where we just trip off of Turkish jazz. Or we may spend the day, and say, “OK we’re gonna go in and we’re gonna clash Kenny Rogers meets ESG and see where that goes.” It’s just really about exploring, exploring, exploring … and that to me is the beauty in collecting records. DO YOU EVER CHECK OUT JERRY’S RECORDS WHEN YOU’RE IN PITTSBURGH? Oh, yeah! When I recorded Blazing Arrow, that summer I was living in New York because me and [recording engineer] Russell Elevado were mixing at Electric Lady[land Studios] and I was also going back and forth to Philly to work with ?uestlove, but that was during the week. On the weekends, I would drive from New York to Pittsburgh to go to Jerry’s and then I’d spend my whole weekend there, then I’d drive back to New York on Monday. That was through that whole Blazing Arrow period. ANY BIG FINDS? Yeah man, a lot of the stuff I used on Blazing Arrow I found at Jerry’s. There was like a Pittsburgh Pirates record that we cut, I think we used part of it on “Passion.” I came up with a lot of stuff at Jerry’s, Jerry’s is dope. Then after that, we hit it a few times when I was on the road with Public Enemy and Dilated [Peoples]. Me, Evidence and [DJ] Babu would roll through there and hit it up, too. OVER YOUR 20-PLUS YEAR CAREER AS BLACKALICIOUS, HAS YOUR PARTNERSHIP WITH GIFT OF GAB CHANGED? Creatively, it’s just a lot more efficient. We’re old men, you know? So when it’s time to get in and work, we get in and work. But that’s also the reason why we can go in and amass so many songs so quickly when we do sit down and work together. Because there’s not a lot of time spent teetering around the edges, you know what I mean? We just dive right in.

NEW RELEASES {BY MARGARET WELSH}

GREYWALKER BEYOND ALL MORTAL [SELF-RELEASED] GREYWALKER.BANDCAMP.COM

There’s always something a little cartoony about melodic death metal: That’s why Metalocalypse exists. And this release features all of the over-thetop hallmarks of the genre, from the dramatic album art to the grim subject matter to the assertively harmonic guitar lines and fast-motion riffs. Yet somehow Greywalker manages, impressively, to keep all of this from tipping over the edge. Beyond All Mortal is a time-bomb of a record: urgent, uneasy and over before you know it. Despite a slightly disappointing scarcity of immediately catchy riffs (these songs are growers), there’s an appealing hardcore bent here, and vocals hit an emotive sweet spot, hovering above guttural growls. Plus, recording engineer Matt Very provides, as always, exactly the right amount of aural size and polish.

BLUE SOUL TEN THE UNSPOKEN WARRIOR [GREENEHOUSE MUSIC] WWW.GREENEHOUSE MUSIC.COM

The Unspoken Warrior opens with a vintage sample: “What you’re going to hear about today is nothing short of a miracle … Living Stereo!” From here, Claye Greene — the composer/producer behind Blue Soul Ten and owner of locally based label Greenehouse Music — primes his listeners for more than just a record. This is meant to be a listening experience. Greene blends ambient trip-hop, lounge and jazz, and tracks are heavily interspersed with soulful female vocals. The Unspoken Warrior evokes the down-tempo electro space-rock of groups like Air and Everything But the Girl — which is to say, this is premium chill-out music.

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Profile for Pittsburgh City Paper

August 26, 2015  

Pittsburgh City Paper Volume 25 Issue 34

August 26, 2015  

Pittsburgh City Paper Volume 25 Issue 34