The Bear Jew spent 11 days in the Holy Land of Israel on his Birth Right trip. Click the link above the picture to view all the pics.

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New video from Big Rela affiliate KGB called “Juicy” featuring half of the Academy Award winning group Three 6 Mafia.

http://www.ustream.tv/user/BigRelaTvdotcom

The dynamic duo returns for an encore performance from Halloween night. Catch them Sunday Dec. 11 at 8 pm est! Check your local listings to see if it's available in your area...

Download it from the Android market today!!

Head over to our webstore and get an amazingly priced gift package for the holiday season for someone special.

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A artist of the gothic/horrorcore genre, The J.Hexx Project is the owner of a indie label called SEV’RD NERVEZ MUSIC in 2008 . A Fort Lauderdale based music label, he created it to put out his own music, which is due to the fact that major labels find him too “different” from what they offer to the masses. He specializes in actually speaking in two different voices, which represents his “good” and “evil” sides to his personality making him a schizophrenic by nature.

He was born in  Brooklyn New York , and has since moved to the Fort Lauderdale, Florida area. He has been doing music most of his life, as well as a true hardcore horror fan, and he references alot of his favorite films of horror in his music. He prefers to having a very 60’s-70’s grindhouse horror film sound to his music, which emulates the feel of these films very well.

He put out his first album, The Seven Doorz To Death+ Twitch of the Deadz Nervez Lp on April 24th, 2008. It is the first release on Sev’rd Nervez Music. The first seven songs are from the ep, The Seven Doorz To Death ep, which he completed in 2004, and a full length album, Twitch of the Deadz Nervez Lp, which he completed in 2005-06. He packaged his first release with both these albums into one cd, making it a full 23 tracks running at aproximately 72 minutes long.

Also he is the owner of his label’s website,Sevrdnervezmusic.com and constanly sends his fans personal mesages that visit his site. He is steadily working on a musical autobiography of how he became a horror fan based on his childhood horror film experiences entitled” Confessions of a Horror Fanatic”.

On December 1st, 2010, The J.Hexx Project released a new album titled, Mountain of the Cannibal God, that is praised as a album that is a true testament to real underground horrorcore, and is a modern example of the classic horrorcore sound (original 3se, Gravediggaz, Flatlinerz) that has long been missing since the beginning of the 21st century. Kikaxemusic.com’s Matt Molgaard has said in regards to Mountain of the Cannibal God album, “In the case of the latest The J.Hexx Project release, listeners are treated to the theatrical treatment, and in terms of the potential impact the album could leave on fans, longevity feels all but inevitable.” Even K.G.P., a longtime well respected underground horrorcore artist via his site MortalGore.com wrote a article that said ” We are pretty sure that one day MOTCG will become a classic. Not only is it based on classical movies but it is also a great concept album. It’s a breath of fresh air in this genre and an example of excellent work.”

The reception to the album was very well met and reviews praised the album. Mountain of the Cannibal God is also the very first album in the history of horrorcore that presented a new format of horrorcore concept album style, called Giallocore.

Giallocore as The J.Hexx Project has explained, is a concept horrorcore album, and hip hop music with horror themes that relies heavily on the rules and creative aspects of the modern Giallo film, a genre of italian horror film, that relies heavily on and includes elements of horror fiction and eroticism, and are characterized by extended murder sequences featuring excessive bloodletting, stylish camerawork and unusual musical arrangements. The literary whodunit element is retained, but combined with modern slasher horror, while being filtered through Italy’s longstanding tradition of opera and staged grand guignol drama. They also generally include liberal amounts of nudity and sexually explicit themes.

This combined with horrorcore, which is a sub genre of hip hop that defines a style of hip hop music, focusing primarily around horror-influenced topics that can include Satanism, cannibalism, suicide and murder. The lyrics are often inspired by horror movies over moody, hardcore beats. This is the basis that forms Giallocore. The J.Hexx Project is the creator of Giallocore, and was created out of his love for giallo films as well as italian horror, slasher, psychological thrillers and cannibal films.

Born August 9th, 1983 in Honolulu, Hawaii, 4 HeavenSake is an artist whose style of rapping is vintage hip hop/reggae, fused with the new age sound. His earliest influences are pioneer reggae musicians Robbie Shakespeare and Sly Dunbar. At only 5 years old, 4 HeavenSake was introduced the world of reggae, when he traveled with Sly and Robbie on their Reggae Sun Splash tour.  At the age of 12, 4 HeavenSake began writing his own music and learning the different production of it. In the mid 90s, he dominated rap battles both in his High School and local events. In the early 2000s, at this point, 4 HeavenSake wanted more out of his music, so he released his first mixtape “Shermrocks Finest”. As the years progressed, so did the skills and energy of 4 HeavenSake’s sound. He now has several mixtape tracks roaming on the internet.

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This [dead] P.o.e.t.s. “Bomber” poster and the debut album from the [dead] P.o.e.t.s. “Front Toward Enemy” are now both in the webstore and ON SALE! Get em while they are hot!!

First single off of Squire Zama’s “The White Ranger EP” Mixtape. This song features production by Justincredible and verses from Psyko South artists Big Rela, Lu-Struggz and 4HeavenSake. Click the MP3 button on the player to download the track.

Bloodshot began writing to hip hop in 1996 . He grew up listening to mostly East Coast style rap (Wu-Tang, Gravediggaz, Cocoa Brovaz, Heltah Skeltah). Another style he listened to was Memphis Rap, which consisted of nothing but gang related lyrics, mob based crews and southern influence. (Prophet Posse, Hypnotize Mindz). Around 2000, Bloodshot decided to start doing Horrorcore music. After 9+ pressed released cd’s and over 15+ misc. releases, Bloodshot remains a heavy hitter in the genre. Bloodshot has done tracks with official established artists such as King Gordy, MC Mack, T-Rock, Mr.Sche, Black CZA of RBL Posse, Insane Poetry, Scum, Smallz One, DJ Cree & more. There’s alot more to come out of this monster. Creep into the caves and come out a horrorcrunk maniac! Bloodshot has taken the sub genre “Horrorcrunk” and is bringing it to a whole new level. With Vice Gripp (a horrorcrunk artist as well) supplying him with beats/production , things are going to explode. Bloodshot is now signed to Psyko South, home of [dead] P.o.e.t.s., scheduled to release ” The Crunken Master ” LP in Oct. 2011. Stay tuned @ http://www.HORRORCRUNK.com and http://www.PsykoSouth.com for more music and info!

That’s right! Another review of the P.o.e.t.s. project “Front Toward Enemy”!! Click the image above or here for the review!

The [dead] P.o.e.t.s. are an American Hardcore Hip-Hop group that consist of: Big Rela, Vice Gripp, and Squire Zama. The group was formed in the suburbs of Broward County, Fl. in 2001 by Vice Gripp and Big Rela, with Squire Zama joining the group in 2009. They have released dozens of mixtapes, with their first studio album set for release in the Spring of 2011. The [dead] P.o.e.t.s. have performed hundreds of shows in numerous venues and have opened up for acts such as Cappadonna of the Wu-Tang Clan, Terminology, and west coast hip-hop legend Ras Kass.

The [dead] P.o.e.t.s. have been signed to the independent label, Psyko South International, Inc., since their inception back in 2001. Upon being signed the group has established what most would call a hard hitting, in your face style that went against the “bubblegum dance” rap expected of today’s mainstream music industry. Instead the group went with combining creative lyrics and concepts with aggressive and strong-minded messages. The group has accumulated over 50,000 album downloads since 2009.

The [dead] P.o.e.t.s. have been gaining fast popularity and momentum amongst horrorcore enthusiasts and underground Hip-Hop fans alike, leading them to begin work on their first full-length studio release “Front Toward Enemy”. The P.o.e.t.s. have collaborated with up and coming artists such as: Liquid Assassin, Mars, and Kung Fu Vampire as well as established artists like: Esham the Unholy, Rock of Heltah Skeltah, Don Ferquan, K-Rino of South Park Coalition, and Wu-Tang Clan’s Popa Wu.

In the summer of 2011, the [dead] P.o.e.t.s. embarked on a 29 city tour across the U.S. with Horrorcore acts Mars and Psycho Jesus, gaining heavy exposure for their album Front Toward Enemy. The group appeared in several publications and news papers during their time out on tour. They sold over 1,000 albums on the road along with t-shirts, posters, necklace charms, and mixtapes. The [dead] P.o.e.t.s. continue to tour all over Florida and accumulate an international fanbase through their heavily trafficked website.

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Please click the link below, watch the video, and donate some money to help out the [dead] P.o.e.t.s. with releasing their debut album “Front Toward Enemy”!!! Our thanks will be eternal.

https://www.kickstarter.com/projects/psykosouthpoets/front-toward-enemy

Big Rela, Kung Fu Vampire, Brothaz Grimm, The J.Hexx Project Top The Wicked Undergrounds Top 10 Songs of 2010 List!

Horrorcore.com has been providing fans of the gruesome hip hop genre access to exclusive interviews, photos, videos and music from some of the long running veterans of the game as well as a hefty load of promising new comers for a decade plus. Throughout the years some superb music has been released through the Wicked Underground (forums), and while most years leave the sites blossoming stars unheralded, 2010 is a bit different; I’m tipping my cap to those who left a tangible dent in the structure of horrorcore.

After running open voting polls in the HC forums, a handful of contributors emerged as clear fan favorites. Toppling the polls was Big Rela, who dropped a bombshell on the scene this year with “Serial Killa”, a twisted tune that boasts an eerie beats, some excellent film samples and a lineup that includes Mars, Kung Fu Vampire, J-Reno, Grewsum and Vice Gripp. The track carries a great somber mood to it, while hearkening back to vintage horrorcore, and to be honest, it’s not a shocker to see the tune take the top spot.

Kung Fu Vampire – whose name and sound was all the buzz at HC this year – slid comfortably into the second position with his latest single “Grinder”, an edgy tune that echoes a Tech N9ne influence with a lyrical prowess that belongs to KFV and KFV alone. Element 151 put together an impressive video for the track that mirrors the dark technological essence of the tune and puts the Vampire’s unique image on full display. It’s a tune worthy of attention, and a video worthy of equal praise. Expect Kung Fu Vampire’s career to reach new heights in 2011.

Brothaz Grimm positioned third on the top 10 list with the rapid-fire offering “Lay Em Down”. The tune syphon’s a sense of nostalgia, as this jam feels a whole lot like peak Bone Thugs N Harmony. The biggest differential lies within the lyrics, where Brothaz Grimm bring a much bleaker painting to the canvas.

The J.Hexx Project continues to gain momentum, and this years “Mountain of the Cannibal God” played a major part in Hexx’s continued expansion. A grimey tribute video to 70’s Italian horror cinema only helped the cause. Still one of the most original acts in the scene J.Hexx has a ceiling, I’m just having trouble spotting it at this point.

Rounding out the top five most popular Wicked Underground songs of 2010 was Dosia Demon’s “Say My Name”, a catchy track provided by one of Horrorcore.com’s most familiar voices. Mr. Rage and $woop lend their talents to the song, which really helped to push this one to the next level of popularity.

Who will emerge a true star of the WU in 2011 remains to be seen, but 2010 is in the books, and it’s quite clear that Big Rela, Kung Fu Vampire, and The J.Hexx Project are amongst the true “leaders” of the site. Their consistently growing listener-bases only proves that word-of-mouth travels great distances, and quality music will venture farther than a single website, even a site as dominant as horrorcore.com.

Check out the full Top 10 list below!

1 “Serial Killa” by Big Rela, Mars, J-Reno, Kung Fu Vampire
2 “Grinder” by Kung Fu Vampire
3 “Lay Em Down” by Brothaz Grimm
4 “Mountain of the Cannibal God” by The J.Hexx Project
5 “Say My Name” by Dosia Demon
6 “Kill Her” by Hopsin
7 “Lover In The Wall” by The J.Hexx Project
8 “Dead Girls Don’t Say No” by Kung Fu Vampire
9 “Are You Patient? (Ghosts ‘N’ Goblins)” by Ressurrector
10 “I Drank It” by Grewsum
Written By: Instant Legend

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First of many…..

Little is known about the artist Squire Zamarkazxs. The other members of the label jokingly refer to him as an “undead samurai”. But rest assured he is far from a joke. He has no background, no family, no history,  and very few people in the world he would dare call a friend. For the majority of his career he’s worked alone. He is the owner of Battle Royale Media. And was personally invited by Helmer “Big Rela” Saunders to join the Psyko South roster. Zama never shows his face usually covered by a mask, and almost never does interviews. But behind his mask does lie a soul. To get a clearer understanding of that you’ll have to listen.

Big Rela is an American Rap Artist from Miami, Fl. Influenced by many forms of music, film, and art he began writing at the tender age of 15. From the years of 2001-2009 he spent recording and releasing hundreds of songs and playing hundreds of shows locally. In 2011 he teamed up with his fellow peers Vice Gripp and Squire Zama to release the album Front Toword Enemy under the [dead] P.o.e.t.s. moniker. The record was followed by a 29 city National tour of the U.S. in June/July 2011.

Rapper Tommy Gunz the Dark One has been on the rap scene for the past 11 years. He first got started in music by listening to his favorite artist who were on top at the time or who are still making hits today such as Outkast, Goodie Mob, Tech N9ne and Erykha Badu to name a few. He was influenced by the creativity of such artists so much that he decided to dabble in music himself. After a short time he made his first LP entitled “ONE WITH THE NIGHT” which had mixed reviews among other artist and his peers. Several years have past and Tommy Gunz created a style he could stick with after experiencing the street life of Opa Locka, FL which is a suburban area in Miami with a very high crime rate. Mr Gunz overcame many obstacles and set backs and down the road managed to grab the attention of Psyko South member J.M. Blakk who he had been friends with before his induction into Psyko South. J.M. Blakk introduced Mr Gunz to Psyko South chairman Vice Gripp and then eventually met the remaining Psyko South members. Tommy Gunz is currently an active member of the Psyko South family with his first mixtape under Psyko South International, Inc. entitled “THE 21 GUN SALUTE”. The mixtape is a hard hitting, aggressive, metaphorically charged mixtape. Mr Gunz is currently working on material for his new album (Man In Black) that’s sure to catch your ear in the future and shred it into pieces.

As you drive along a dark stretch of highway in the Florida Everglades you see a rickety sign stating: Entering Broward County. This is the home of Psyko South artist Vice Gripp. Born in North Miami but raised in Hollywood and Pembroke Pines, Vice Gripp has established himself as one of the premier lyricists in Broward County and soon to be the world over. With a mix of hardcore, aggressive southern style and brutal, razor sharp lyricism, the self proclaimed “Broward County Cannibal” and “Bear Jew” demolishes track after track to the delight of hardcore hip hop fans everywhere. He is co-founder and co-owner of Psyko South International, Inc. with partner in rhyme Big Rela. They started the label in 2001, establishing themselves in the local underground scene in Broward and Dade County in 2006 through dozens of shows and 5 mixtapes in the streets. Vice Gripp’s 3 solo mixtapes (Entering Broward County Vol. 1 & 2, OutLaw Music) were put on the internet for free to feed his fans and gain new ones. As one 3rd of the hardcore hip hop group [dead] P.o.e.t.s. with Big Rela and Squire Zama, they are gearing up to bring rough and rugged rap shit back with a vengence. Vice Gripp was heavily influenced by Bone Thugs N Harmony, Wu-Tang Clan, Heltah Skeltah, Esham, Rakim, Mystikal, UGK, Tech N9ne, Afu Ra, Z-Ro, Insane Clown Posse, Outkast, Ill Bill, Paradime, Brotha Lynch Hung, Triple 6 Mafia, K-Rino, Twista, Do or Die, T-Rock, Pharoahe Monch and Canibus. Vice is also a producer, making beats for official Psyko South International projects.

Vice Gripp is currently working on new solo material in 2012; a mixtape and a debut album produced entirely by himself.

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Get the latest updates from the Psyko South International crew with this podcast!!

The 21 Gun Salute droppin 9/18 for free download

Former Wu Tang Affiliate of Poppa Wu/Future Chamber Records, Lu-Struggz, inks a deal with Psyko South!!!!

Check out the homie Big Rela’s album review in the next issue.

On “Scumbag Original: The Gospel of Rela” 8/10/10!!

Kool G Rap was interviewed extensively about his rapping techniques for the book How to Rap: The Art and Science of the Hip-Hop MC. The following are previously unreleased highlights from that interview, covering his story-rap writing methods, writing to the beat, writing on a phone, recording, and his thoughts on today’s emcees.

As the conversation did not appear in the book, author Paul Edwards exclusively provided HipHopDX with insights to the mind, method and techniques for a true master. Those interested should note: Kool G Rap also penned the Foreward to the increasingly popular book.

Interview by Paul Edwards

How to Rap: Do you have a set process when you’re writing lyrics?
Kool G Rap: I wouldn’t really say there is a set process, it’s me just trying to go in that zone. I just try to zone out and let the beat tell me exactly what should be placed on it and let the beat give me the lyrics.

Each track calls for something different, whether it’s a flow, whether it’s a subject matter, whatever it is. Some tracks call for you to be a little more hyper, some tracks call for you to fall back a little more and to just talk to them.

How to Rap: Do you write everything down on paper?
Kool G Rap: Now I don’t use paper, I type now. It took a long time to do that transformation, but I finally got the transformation to typing now.

I just type in my phone, I don’t really type on the laptop or nothing like that because who’s gonna lug a big laptop around with them everywhere, so I just type in my [Sharp] Sidekick. I can go to the studio or wherever, do a feature with somebody else and my phone is always gonna be there.

Typing it [helps you play around with it more], because instead of crossing out, you’re going back and deleting words and replacing them. And it’s not sloppy, as opposed to writing—with typing it’s easy and simple and it’s not a bunch of cross-outs and scratches on the paper.

How to Rap: Some people say they write in their head, do you think that’s a good way of writing?
Kool G Rap: To me—I could do that, but it’d take time. I don’t even play like that because sometimes you don’t wanna forget one simple word. Sometimes it could be a three letter word, and if you use another word instead of that word it can make the whole line sound a lot more harder.

Simple little words make a difference on how the line hits. So when you’re trying to write [in your] head, sometimes you might forget those little things like that, and that shit might not hit as hard. When you’re writing [on your phone or paper], you’ve got time to sit down and think about it and play with the words and replace one word for that word and be like, “Oh yeah, it hits better if I say this instead of that.”

You’re not going to remember little small details like that when you’re just trying to store all that shit in your memory and do it real quick.

I mean, a lot of times it can work too. A lot of times you can rhyme off the top of your head and get lucky and that shit just hit crazy. But when you’re a professional and you’re making records for masses of people to listen to, or masses of people to get into—your creativity, that’s something I wouldn’t play with.

It’s hard enough writing it sometimes and getting as complex and as intricate as you wanna get. So trying to just do it in your head like that, I mean that’s crazy, unless you got a “Beautiful Mind” like my man Russell Crowe did in that movie. Or you some Rainman type dude or something where you can just remember all that shit like it’s nothing, but I don’t have that gift right there, so I don’t even play with it.

How to Rap: When you write a story, do you figure out the whole plot on paper first, or do you come up with it as you’re going along?
Kool G Rap: I do it as I’m going along. For my story rhymes I never really had like – “Okay, this is how I’ma start, this is what I’ll say in the middle to make it juicy,” or “I’ma end it with this.”

I start from the first line, and I just go from there and the story just comes out. I think that’s the best way to do it, because if you sit there and study too much on how you gonna end it and all that it might not come out as dope.

I don’t usually have the ending and how the story is going to go, I just do it as I go along. That way it keeps me hyped about it, because I’m seeing it form in front of my own eyes, I’m not knowing how it’s going to turn out, so it’s like I’m presenting myself with a movie too.

How to Rap: When you do that, are there ever times when words that rhyme together will influence where the story is going to go?
Kool G Rap: Nah, it’s gotta make sense, you can’t just put whatever comes next that rhymes, the story gotta be right too. You can’t just go from: “went to see Papi and picked up a key /… and now I’m by the tree,” nah, that shit gotta be put together beautifully. If it’s not, you’re not going to be credited as a good story rapper.

It’ll still be as I go along, but once I start going in a certain direction, once I start writing the first few lines and it’s going in a certain direction, I’ma keep it that direction until it’s the right time to do a switch up and I’ll make it like scenes of a movie.

How to Rap: How do you come up with the flow?
Kool G Rap: When I first start listening to the track and I start zoning out, the track is basically telling me how to flow on it. Especially when I write the first maybe four lines or whatever, I know where I’m going with it as far as the flow.

The flow is nothing but G Rap just staying with a flow that’s not dated, but is still G Rap at the same time. Because I could never flow with somebody else’s flow like that.

And if I did, it might sound like somebody else’s flow, but these dudes was inspired by G Rap and so they took pieces of G Rap with them and became what they became.

So what might sound like somebody else’s flow—nah, not really, that’s a part of G Rap and if we could go back and listen to each and every record I made you’ll probably hear those flows and shit that I did before.

Somebody might have took a certain flow of mine and just based their whole style around that and just ran with it. I never just did one flow, I mean you hear a flow I did on “Men at Work” and you heard a different flow on “Road to the Riches,” so it’s like I never just did only one flow.

How to Rap: Does it take a long time to write raps with lots of complex multisyllable rhymes?
Kool G Rap: It depends, sometimes if you’re really zoning and your wheels is turning, once you start with the first few, they just come to you. And not just shit that just rhyme, but shit that hit hard too, like oh my God, like you can’t even believe you thought of some ill shit like that.

How to Rap: Do you ever practice just coming up with rhymes… not for a song, but just to practice rhyming?
Kool G Rap: What I might do sometimes, if I’m not writing but my mind is still zoning, like sometimes once you open your mind it’s hard to stop it from fucking going… like once you put yourself in that zone you can sit down and try to watch a movie, you can try to do anything else, but your wheels is gonna keep turning.

So, you’ll be looking at a movie with your eyes but your mind is totally, totally different and sometimes shit will keep coming in your head. So sometimes when shit like that happen to me and I think of something crazy, I might write down that rhyme so I don’t forget that shit because that shit is crazy. And maybe I’ll put it in something, like one day when you’re writing something and it fits in then, you just throw it in.

How to Rap: Do you usually write to the beat that you’re going to be using?
Kool G Rap: In the early part of my career I would just write the rhymes with no tracks, no nothing and just place them on beats later. “Road to the Riches” I did like that, I did a lot of records like that, “Kool is Back” …all my early records I didn’t write to the tracks.

I didn’t start really writing to tracks maybe until [Live and Let Die], some of the [Wanted Dead Or Alive] as well.

“Talk Like Sex”—I wrote the first two verses with no track and then my man, Large Professor played that track for “Talk Like Sex” and I just started thinking what could go with this shit. I remembered I wrote that “Talk Like Sex” shit and it went with it perfect, so then I wrote the third verse to the track because now I know the direction. He gave me the track and the track was crazy so I wrote the third verse to the track.

But by [Live and Let Die] I was writing everything to the tracks.

How to Rap: Do you find it comes out better if you write to the track?
Kool G Rap: No, because “Talk Like Sex” is a classic! It’s about what works with what. I love to write to the track now because I feel like I can tailor make the rhyme to the track a little more.

How to Rap: When you record lyrics, do you have them memorized?
Kool G Rap: No, a lot of times I read them, because when you first finish writing something you’re still excited over it. Even though you don’t have the memory of it down pat yet, you don’t have the flow all the way down pat, you still got that energy of it being fresh and new because it’s still new to you, you’re entertaining yourself when you hear how good you sound on the track, because it’s new to you. You don’t exactly know what’s coming next.

So I like to record reading off the paper, it’s more fun if I read it. Even if I make some mistakes, I just do the punch-ins because I’m so charged up over this shit because it’s brand new, I’m amped up over it, I might have surprised myself with this particular verse or whatever.

All that energy is still there, so you want to get that shit out while that energy is at peak level like that. Once you start to know something by heart it’s not at peak level no more, it might go down to an eight. So you might lose something… even though it’s still up there, it still sounds good, it’s still hitting hard, but you still lose a little something. They call it that ‘umph’, you lose that little ‘umph’ and I don’t want to lose that.

How to Rap: Do you ever have something that looks great on paper but doesn’t work when you go to record it?
Kool G Rap: Yeah, I’ve been through that, I’ve got something in my head and I think it’s going to come out sounding a certain way and then you go to lay it down and it don’t come out exactly how you imagined, I scratch those shits, back to the drawing board, that’s how I do it, shit gotta come out perfect.

If it don’t move me, then I don’t like to put it out there because it’s not even moving me. The first person I gotta entertain is me.

How to Rap: Does everything you write get recorded?
Kool G Rap: Some things I just keep in the bag like for freestyles, competition. If anyone ever call G Rap out in the streets, I got something – I got clips I’ma blaze at niggas. Those be the clips, like don’t get it fucked up, I got something that’s gonna stop a fucking horse so don’t play. If niggas come, man, they better come with some fucking elephant guns because I’ma knock a fucking horse on its side – real talk.

How to Rap: Do you prefer recording or performing live?
Kool G Rap: I’m more of a studio person, like that’s really my comfort zone because I love being in the studio, I love hearing the shit I’ve been keeping in my head materialize, like it fascinates me. I love just sitting there and being creative and shooting ideas back and forth with the engineer or producer or whatever to make something come out amazing.

How to Rap: What do you think about today’s emcees compared to older emcees?
Kool G Rap: The era I’m from, everybody strived to stand out and be their own person and to have their own character and have their own image. It’s like you didn’t wanna come out and be another Chuck D, you didn’t wanna come out and be another KRS-One. You wanted to be as good as those rappers but you wanted to be you though.

But nowadays so many people are like trying to be the same. Somebody gonna want to be T.I., somebody gonna want to be Jay-Z, or somebody gonna want to be 50 Cent, but you can’t knock people [trying to be like other people] sometimes, because these are very credible, influential rappers.

But when it’s on a mass scale, when everybody’s sounding the same then that’s when the music gets fucked up, because it’s like you’re buying the same shit over and over again, just different pitch tones and voices and shit like that.

It’s not only the rappers trying to be another rapper, he got the same producers, so it’s like you hear the same music and you hear the same song over and over again.

As opposed to [in the past when] the same people that love Rakim also love G Rap and vice versa, but G Rap and Rakim was totally different. Same people that love G Rap, love Big Daddy Kane, love KRS-One, love Chuck D, love EPMD… but nobody can say, yo, their shit sound all the same.

So that’s how the rappers today differ from the rappers in the golden era of Hip Hop – there’s less variety, it’s [mostly] the same type of shit over and over again, just different groups.

This is a track I recorded about a month ago and I’m just getting around to releasing.

Its called “Trojan Magnum Handy” off the Bastard and a Gentleman Mixtape Series I’ll be putting out.  Instead of getting a mess of songs all at once, you’re gonna get em one by one until I’m tired of makin em.  Make sure you download “From The Vault” dropping on 5/25 and stick around cuz my solo album “Top Brass” will be dropping at some point this year.

Much Love!

-Brasko

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Click here to view the embedded video.

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