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Tell us why do you think this post is inappropriate and shouldn't be here:. Cancel Report. Posse was Sevillan old school by definition, along with Draches.
Those groups existed before SFDK, for example. It blew my mind, because I got to his house and he had like a TDK tape collection, all recorded. Every tape had its label, with lyrics. And I, with my long hair. So, from that day on Paco and I started to share. I taught him rock and metal stuff, and he taught me rap stuff. And he connected it to the auxiliary port. So he looped that ending by hand, from one tape to the other and he got a minute-worth of instrumental.
We started to fool around with the tiny mic. A little of everything. Paco came to play for my team. He played for a local team and I took him to a more serious team, in which I played.
From that day on we were inseparable. Now he lives in New York. He was the first person I rapped with or tried to rap with, at least. It was intuition. Juaninacka was the only one I remember as a person who knew how to rap well. I marked those memories down.
What pushed me… Because with Paco I knew the history, I started to get a little into rap. Fooling around, playing, right? Because our life back then was buses all day, because the people in La Alta Escuela lived in Coria. To go to Coria I had to take two buses, a city transit bus And I had to travel for I lost about an hour going to rehearsals with them.
And so I learned to rap, because I was next to a guy who was, and is, a Spanish rap legend. I remember one of your first songs, well, one of the first I knew, at least, that got here, that referenced some characters like indie, indie rap from the West Coast, and things like that. Was that music influential to you? What did you listen to back then? What references did you have? What kind of music were you more into? In the time of La Alta Escuela, besides learning to rap with them, the thing is, the three of them, Juanma, Juani and Randy, one of the amazing things I learned in Seville was that they had more music living in a small town, and knew more rap than the people I knew in Seville.
Juani and Randy were more knowledgeable about music than anyone else. You know? Kind of randomly. To check out its sound, because you knew that this person had collaborated with that other person. So, you had Loud Records, because you knew that label worked with talented people, right? Juani brought the first Xzibit album. We started after that LP, I fell in love with that sound. But at that time I discovered Lootpack, Wildchild, Madlib. I discovered people who did freestyle, who called themselves Freestyle Fellowship.
Yes, Styles of Beyond, who were the kids from Reseda. I loved those people because they gave me ideas and ways of rapping. I took many of those styles for myself. Because my voice is sh-t. I yelled twice and my voice was gone. And I saw people modulating their voice, Evidence. You can notice a change in my albums. Louder albums, and much more relaxed albums.
I learned to use my voice closer to the mic. I sang better and it sounded prettier. Juani knew how to do that. Circling back to Seville. Do you think that established a sound particular to Seville and eventually to Spanish rap? A sound you could identify today? Juani could write at writer level. For example, when Juani joined the scene the little kids who were beginning to come hang out with us had the chance to see the Pino Montano scene, which was super authentic.
What Zatu set up on the street with his friends was unique. They got a radio with batteries, people would pool their cash to buy booze and batteries.
And we spent the whole night rapping there. And that was something that no one could take away from the Pino Montano neighborhood that created that scene, because that was brutal, in fact we all went there.
Anyone who rapped in Seville knew that if they wanted to know if they were good they had to go rap with the SFDK crowd in Pino Montano. It was a mandatory hang-out spot. And I remember one night there when people started coming and they were really young kids. Jesuly hung out there, Buda, my year-old brother. All those people had the chance to live a very authentic thing. It was so crowded that people would take a big detour to avoid it. And that was our park.
We were always rapping. Interesting, interesting. So you did a sort of recounting of the La Alta Escuela days. You released your solo album, or your solo single, and you also had a project with your brother, right? Where do you feel more comfortable? I had had long hair for three years. I was doing my thing back then.
La Alta Escuela did like six concerts. The group broke up and I did a demo. And he proposed doing a demo to me and we did. Well, exactly, so this guy called me and offered a record deal for two or three albums. What was happening with my brother? I spent all day with my brother. And like I told you, my brother came to the cyphers and rapped with us, so it caught me off guard.
We did freestyle at home and we rapped, it was impossible to have privacy. My brother would get up and he was the first to claim the computer. Go on Napster, download music, write fast, then if one of us was writing the other one would hear him.
Or leave the room. This son of a b-tch is great! The lyrics came super easily because we wrote them together in our room. I can say that doing an album alone is a real pain. To make 15 songs by yourself, the choruses, decide the collabs, every damn lyric, first bit, second bit. People are smarter nowadays. They do a song here, a song there, and they have a good time. Not harder, but trickier, right? More work. Doing it alone, in general. Somehow you have more control. You do whatever you want in your solo album, right?
How does he write a song? What was a beat? I get online or I can ask a producer. To have a beat back then on a CD, was a really unusual thing. So, for example, I remember many La Alta Escuela lyrics were written by rapping over rap songs.
At home. And it was a pain because you had to write trying to ignore the other dude rapping. Juani, me, and Juanma, wrote many of those lyrics over American rap songs with the guy singing. Sometimes it would fit and sometimes another thing happened that I love in music, and that is randomness. And I discovered that in those times, and to this day I still work like that.
I love the first feeling a beat gives you. But a half hour later I hate it already. I need to hold onto the first two hours of being in contact with a beat. Even if I wrote something good for it. And afterwards I went to the beat Hozone gave me. But I wrote it to that other beat. And it would open my mind. And I also like the feeling of writing with something else, and changing the rap later to a new beat. I grab onto that and then I record the acapella with another beat.
And I like randomness, the feeling of putting the acapella over another beat. To see what happens, because randomness gives us great things in music. Another thing I love. Another anecdote related to randomness, in another setting, with producers. I love it. He had a folder with many samples ready to use. You discard them, but sometimes something would happen. But randomly that works with people who have samples already chopped. And have a library, and have a sample folder at the ready.
When you record a song, are you one of those who records a demo and then works at it, thinks it through? Or do you prefer the first time to just leave it untouched? No, no, no. I never record a song twice. Baghira hates me for it. Have you ever thought about forming a rock band, or rapping with a band?
Like Rage, or something like that. Because the band, in my opinion, is great for direct sound. It gains value playing what it already has, live. And of course, the band does covers, and occasionally we also improvise some bits, but it has to be a limited thing.
When the band is covering your song or better yet, when they fatten your beat, it rocks and the feeling of playing with a band is incredible. You lock yourself with some drums, a bass, a guitar, and they play like three tunes. But that does give me something to write on.
Or could it have a more rock-like vibe? And other times they simply write arrangements over beats my DJ gives them. And going back to the scene, I saw that you recently did a collab with these guys Yeah, a duo.
Is that simply wordplay? And if so, why? You only hear stupid things at all times. And in every genre. And when I see people using such poor language I get bored. I want to say that before everything made you think, and now everything is for dancing and having sex. I think music is a huge spectrum, with thousands of things in the middle.
I mean, between those two things there are a million others. And millions of people want to hear them. Do you think that has to do with it? No, I mean, things in a broader spectrum of topics. I mean, the songs, to give you an example, many hits that people all around the world listen to, are so poorly written and have grammatical errors, and they use only three words, man! In my time, at least, there were rappers, or people who threw text there. Nowadays the credit would have to go to the producer.
Today we live a generation of people who just speak. In those couple sentences there are 20 grammatical errors! I come from listening to Juaninacka, that was like reading a poem. It was like looking at a painting. Pure talent. Truly, there will come a day when someone sees that gaditano doing freestyle. I did a four-track EP with him. One of the best experiences I had with music. In which I felt younger, more like rapping, like 20 years ago. Dheformer was recording in my studio one of the verses, and I had recorded two verses and he had just one.
And it was really cool! He improvised the whole second one. But recorded for work, not just to hang out. I have a problem with the outside. The American school, which is the one I like the most, because I can listen to people from London, I can like Skepta songs, or the Foreign Beggars, I can like Sofiane songs, from France, or any other rapper from there, but I grew up with the American scene and I still listen to it.
So, gun talk all the time. And you wanted to lock yourself in your room and write something like it. I mean, the importance of the bars is dead. In my metal days I listened to several branches. Dense stuff, slow, and it has many loops to write with. Dense, and the singer waits a whole minute before coming in, and that leaves a minute for you to write in. And on the production side? You worked with many producers in your country and from other countries, who would you like to work with next?
What would you like to try out? We met at a concert. I finish a concert, I like to get drunk and improvise. I need to rap with people I feel like rapping with. Afterwards you do other collabs, or I may feel like doing them.
I have another side, a more musical side. And in beat making? I worked with Oh No , and that was an achievement. I love its sound, but it has to be in a certain tone.
In fact I look for beats that are like, for example, what Pusha T is doing now. He raps, you know. The album he made with Kanye is great. Daytona is a damn jewel.
That would inspire me to write. That was one of my challenges when I was I wanted to have a lyric for every damn BPM. I guess that happens to many people who perform freestyle.
But I wanted to have, my goal was to have a lyric for 60 BPM, and another for I wanted to have every BPM under my control. We were just talking about it, that you just changed your manager.
What is their role, what should they look for? In your case you had experience with different managers. Or where to sell you. Or where not to sell you, of course. I have four or five new songs usually already recorded. More than playing live, I like to record in my studio. That head for marketing that these guys have. You were telling us that you started recording over that KRS track, you made a demo, La Alta Escuela, you had your solo stage, you invited your brother. No longer, right? What could you share about the differences, pros and cons, between being independent and working with a corporation?
Well, the only memory of Sony is that they paid for my damn house. A corporation is only good for taking their money. And people know that. But afterwards, in the end, everything that results from that, or nearly everything, is laminated. My worse records resulted from being with Sony.
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