Here’s a dope interview Arcade44 did with J*DaVeY at Brooklyn Bowl. There’s also some behind the scenes footage of their recent S.O.B.s show. We interviewed them that night too, so check out our Q&A here.

Tucked in the basement of New York City’s S.O.Bs, Miss Jack Davey and Brook D’Leau were chatting quietly as the venue began to swell with fans, eager for an electrifying experience. Surrounded by band members, managers, photographers and friends, they were relaxed and in their element, slowly gearing up to hit the stage. Both dressed in tanks and shorts, alternating between sitting Indian style and leaning forward intently, the pair reflected on their decade-long journey and the incredible milestones along the way. From being invited to open for the legendary Prince to cranking out classic EPs that have built the J*DaVeY NaVeY movement, Jack and Brook had more than enough to discuss. Rather than hitting them with strictly staff questions, Blind I opened the forum for people to submit questions for the group, which come towards the end of the interview. If you missed the footage we posted shot by our very own concert ticket winner Corey Davis, check it out.

Interview after the jump.

Blind I: You guys recently joined Erykah Badu and Janelle Monae on tour. You also performed with Sonnymoon (good friends of Blind I). How has it been being back on the circuit?

Brook: It was dope. We love to travel and perform for people of all walks. It’s a fulfilling thing that we do, and I can’t imagine having it any other way. That’s the whole point—we want to get our voice to as many people as possible.

Jack: Yeah, we were just talking about that. Like we get to travel for free doing something we love so it’s not even doing work.  It’s extending yourself to people.

Blind I: So how did everything come together? Erykah is notorious for personally picking artists to come open for her.

Brook: That’s exactly how it happened. She keeps it very minimal in terms of the politics so it’s just kind of like, “Okay do you want to do the shows?” And it trickles down from there and you gotta deal with XYZ but it should be natural that way. It should always be like the artist is invested in whoever is touring with them. Any other way just seems kind of contrived.

Jack: We’ve known her for a while. And that’s exactly how it happened.

Blind I: By now, many people know Prince invited you to open for him in Vegas, and you also opened for The Roots.  That’s like a dream come true for most artists. Is there a moment/memory that stands out?

Brook: Jack hyperventilating before the Prince gig man. I mean, our families grew up listening to Prince and they were heavily into him in his heyday. So when we did those shows our family was with us. I remember being in the dressing room with all of our parents. And when he walked in, our parents turned into little kids, you know?

Jack: I just went out to do it. It’s like okay I can either pass out or get it done. It’s a dream to have someone you really respect and admire as an artist be into your art as well. It lets you know that you’ve been doing something right.

Blind I: In situations like that there’s often limited contact with the headliners. Did you get a chance to build with these artists?

Jack: I remember there was one time in Toronto when we got booed. And as soon as I walked off stage,?uestlove was right there with his arms out. And he was like, “You know you’ve made it kid when you got booed.”

Brook: Getting booed is one of those liberating experiences where it’s like oh, everybody doesn’t like your music. We were never under the impression that everyone did, but I think it’s really cool when people can form an opinion about you whether it’s fully negative or fully positive. The fact that they feel so strongly to voice it that way. That means that we’re ruffling feathers or something.

Jack: Prince got booed when he opened for the Rolling Stones in the seventies. Kanye got booed in Toronto at the same place where we were. And it’s funny because before we went there, everyone was like oh you guys are going to love Toronto everyone’s so nice.

Brook: And then you get a beer can thrown at you, you know?

Jack: And then the next night we did a show at a smaller venue that was more our speed and it was a great show. And at the end of the day it’s like if they don’t like it, it’s not my problem.

Blind I: Most J*DaVeY fans are like cult loyal fans and follow your music closely. What’s next up in terms of projects you’re releasing?

Brook: A lot of diversifying. A lot of new ways of us branding who we are and our lifestyle. I think we’re great business people, but just acting on that. We collaborated on one T-shirt but for the other ones we’ve done, I’ve done the design. But a lot of my focus has been on art direction for our cover art and stylistically how we come across. But that’s also kind of rolling over into fashion. I’m just developing a lot of ideas right now but soon come!

Jack: Beyond the music we are just really becoming better business people. But yeah we will keep putting out music, keep recording, and keep doing shows. But we also plan to develop other artists and fashion stuff as well. I’ve been collaborating with a partner on a line called Lady Tripper. It’s mainly accessories like feather pieces and stuff that I wear onstage that I think NY will like. Tie dye shirts and stuff. We’re launching an online store: Ladytripper.com.

Blind I: Beauty in Distortion/Land of the Lost was kind of like your introduction. Very high energy. What’s the mood/feel of the upcoming projects?

Jack: We’re still working on a record with Warner Brothers. We put out our EP. We just have so much music, so it’s like figuring out a time when we’re not touring and you know recording to put it out.

Brook: And I think most importantly it’s not just putting the music out, but seeing how all the things we’re talking about in terms of branding, seeing how the music works within that. And not just simply putting music out.

Jack: Nowadays everybody is putting music out. It’s like one day you can be the trending topic on Twitter and the next day, it’s a wrap. The market is so fast now you have to think beyond it.

Blind I: Being at Warner Brothers in the rock department, how do you feel your situation is there in terms of creative control?

Brook: It’s actually kind of merged and so we’re not just in the rock department.

Jack: Yeah, we’re signed to Sire Records, which is a division of Warner Brothers. It was a side label from the 70s and they put out most of the left of center music like Talking Heads. And it’s just ever-changing. [In terms of labels], nobody really knows what to do now. And that’s why it is flexible because we’re able to put music out like EPs. And when you’re signed to a label, you’re not supposed to put anything out without the label’s consent. So now with a changing market, all content is helpful.  We move so fast that it can’t do nothing but help.

Blind I-Jack, a few years back you wrote a passionate open letter to the music industry: “They don’t want to develop the art. They don’t want the artist to express his/herself entirely. They just want the artist to comply with what will get the company a big monetary return.” Now that you have a good situation, has your opinion changed?

Jack: Not really. It’s a weird thing. Art is commerce. It’s one of those things where there is always going to be this divide. And it’s one of those things that artists, real artists are never going to be able to wrap their heads around. It’s so heavy. It’s one of those things where you have to just kind of sit and dig into. That’s just how it is. You can either go in be a part of that or do everything that you can to propel it forward, or try and do it independently. And even now, independent labels function as major labels which is stupid. Because at one point indie labels were the refuge but their resources are drained. Back in the 90s everybody had these big budgets and you could go and live in the studio and order food three times a day for you and the homies. But it’s not like that anymore and you got to roll with the times. And that was just kind of my way of letting it out. You can’t fight how it is though that’s how we made it.

Blind I: You guys tend to not feature other artists on your songs.  Do you prefer it that way or are you switching it up?

Brook: We don’t really have a set rule about collaborations. I think that what we do—it has a strong chemistry to it. So if it’s an element that doesn’t really enhance or really complement what we do, then we try not to. We’re not just trying to invite any and everybody to get on a J*DaVeY track. That doesn’t really benefit anyone. If there’s someone that feels they have something to gain from getting on the track or even if we feel that way about another artist, it doesn’t always work out that way. We’ve done some features and it’s mainly been friends of ours.  Like Questlove and Kardinall Offishall and it’s been very organic.

Jack: It just has to be organic. It can’t be political where it’s like okay you’re both on the same label so let’s get you to work together. It never comes out good. It sounds very forced.

Brook: You can’t negate the fact that making music is a very intimate and personal experience. It’s like you’re making something and revealing so much about yourself to the public even if it’s just via music. We put ourselves into it. So it’s not just something we do. It comes through us. So we have to treat it like it’s kind of sacred and not just put it out the street and ho it out and see what happens. This is our child. So we have to make sure we have a responsibility to keep that child on a certain path and not just let anybody hold your baby so when someone drops your baby it’s like oops.

Blind I: Where are you guys taking risks on this project? Like what will be the biggest surprise for your fans? Or area you ventured out a bit?

Brook: Our mainstay has been us doing what we do musically as J*DaVeY but then like I said us diversifying and trying out new ideas but still bringing everything back home. Just diversifying and being crafty in how we express ourselves to the public whether it’s art, whether it’s fashion or film, whatever. I think it’s a risk because people don’t expect for us to do stuff like that. They just look at us like we’re in a band. There are always risks involved. We’re setting out to say like we have to go from point A to B and so you do have to try new things that initially we might not have considered a couple of years ago. I think there’s always risks involved when you’re creating new business. You’re coming out of your pockets trying to get shit started. This is all being birthed from us.  It’s just balls to the wall.

Blind I: Let’s talk a little bit about your process of making music.  Do you both write or just Jack? And we know Brook produces but do you too Jack?

Jack: Yeah we do. You read his blog and he is a bit of a writer. I don’t produce the way that he produces.

Brook: When I first met her she had a studio in her house and was making beats. I have some of those old beats.

Jack: They all sounded alike. I thought I was Dilla man. Before Dilla even existed. It was like Dilla before Dilla, definitely that hip hop feel.

Jack: But he is magical with instruments and that’s his thing and he puts everything together. And when we get in the room together I’m good at arrangements and stuff but the reason why this has worked so well is because we each know how to stay in our lane. He doesn’t need me hovering over his back in the studio telling him what to. Just like I don’t want him breathing down my neck telling me what to say. But sometimes when I’m recording I’ll be like what do you think about this Brook or help me with a word.

Blind I: Do you sing too Brook? I feel like I’ve heard you in the background on some songs.

Brook: Yes I do for some songs.

Blind I: I feel like I’ve heard a man in the background like is that Brook?

Jack: Ha-ha the invisible man.

Brook: I haven’t done every male vocal but I did “Get Together.” But sometimes she’ll do over dubs and vocal stacks and people will ask who is singing that low note and she’s like I’m singing that.

Jack: I wanted to be T-Boz. I had the mushroom haircut and everything.

Blind I: Right now, which emerging artists are you impressed/inspired by?  Who do you want to work with?

Jack: Janelle definitely. [Blind I: I heard Prince also picked her to perform on the BET Awards] Oh yeah! People need to see that right now.  The industry is overrun with the notion that if you’re a female performer you need to put on a leotard. You have to be robo sex bitch. Robo sex bot from the future and it’s just like they think that by doing that, “Hey we’re sexy, we’re confident we’re strong,” but it’s like no you’re not. Sexy and confidence is having your own mind and not following the crowds.

Jack: Definitely Sa-Ra. We came up with Sa-Ra and when I heard their music that was the first group that I heard and felt that we connected with.  There’s Blu, Theophilus, Animal Collective, Mars Volta, and TV on the Radio. There are a lot of bands that are right there with us.

Brook: Janelle right now is one of the most prolific performers as far as black music specifically female but just in general.

Blind I: Can we expect more rapping from you Jack?

Jack: Yeah. I was a rapper first and switched to singing because it just became too hard to rap. I feel like if you’re going to be a rapper you should have a very specific voice. Not just in terms of how it sounds but you should have a very specific voice. And everybody started rapping and it just stopped being interesting to me. So yeah, eventually when I find out what I want to say as a rapper and who I am as a rapper. Because I kind of lost touch with that.

Blind I:  It seems like you two have a very natural chemistry. Did you always click musically and have the same vision? Or have you just grown into it?

Jack: It’s been almost eleven years now. We were all friends and somehow I found out his dad had a studio so I was like oh, I’m a rapper.  So I was like let’s do something. We did one song together and it was just easy.

Brook: But initially I wasn’t even onstage when she was doing shows. We both had afros simultaneously.  It’s always been something that’s been organic. Never awkward. It’s always been an evolution we’ve embraced.

Jack: It’s gone through so many phases.

Now, here are some reader submitted questions. We appreciate you submitting these.

*Jarrel, L.A.-Have you two ever dated each other and are you currently single?

Brook: We’re actually incestuous brother and sister. [Laughs] No, well I’m a polygamist and I have sixteen wives, so I’m single basically.

Jack: I have a boyfriend. But yeah I and Brook are best friends.

*Jade, NYC-You guys both have blogs. Which blogs do you guys read? Do you ever get into the comments and feedback about your stuff?

Brook: I try to stay as far as possible as I can away from it.

Jack: I search. It used to get under my skin and then I learned okay you people are sitting on your computers listening to my stuff enough to form an opinion. Whether it’s bad or it’s good, it’s great. I read all the gossip blogs. It’s entertaining and that’s the business I’m in, I’m an entertainer so I feel like that’s research for me. I love Tumblr.

Brook: Tumblr is like that place where you find a lot of cool blogs but you also find out a lot about the people who create these blogs. I like, Highsnobbit, Hypebeast and all of those.

Jack: I like Kesh’s blog, she’s adorable and we love your blog.

*Emiliano, Brooklyn: How do you think your music would have been received if you came out in different decade like the 60s or 70s?

Jack: It would have been the same. I always talk about Iggy Pop and the Stooges and how they were pioneers. The way they started out, they were making up their own instruments and doing this crazy performance art shit. They were the pioneers and they never really got their due until now.  I think now people are able to understand how genius that was. I believe that personally I belong in 1974. The 70s psychedelic time is where I think I fit in. But musically people think there’s this trend of this bullshit music only seeing the light of day like it’s a new phenomenon. But this shit has been going on for decades. The radios were overrun by music that probably wasn’t as great as music you heard at a random coffee shop. This is not a new trend. They had bullshit back then. Everything that came out wasn’t great.

*Alicia, London: Brook, who is your favorite producer of all time? And do you play any live instruments?

Brook: Brian Eno is my favorite producer. I mainly play piano. But my next thing has been drums, but not publicly. But yeah drums I guess is the next step. It’s always been keys for me.  [Jack: The drummer always gets some Brook] That’s why I’ve started playin! The keyboards don’t get no nanny.

Draya, Chicago-If you each had to pick a song as your person anthem, what would it be?

Jack: “20^th Century Fox” by the Doors.

Brook: I would say “When The World Is Running Down You Make The Best of What’s Still Around” by the Police.

*Corey, NYC- Jack, you have a background in film and worked on the Ellen DeGeneres show. How do you think that all plays into your art as a performer?

Jack: I’m always thinking cinematically. Even like the way the music is I always want it to be a score of this bigger picture. So I’m always paying attention to how things look—the aesthetics and set design. I’ll get to a venue see the stage and be disappointed like that’s their fault or like I could have prevented that or like I could have ordered a different stage or something like that [laughs].

*Vanessa: Jack, your song writing is very sexy and mysterious. What inspires it?

Jack: It’s borderline like a lady never kisses and tells. A real sexy confident woman will tell you all that you need to know and they can sum everything up in one word or sentence or breath and it’s like okay I know what she’s talking about. That little breath right there? We know. I think the sexiest thing about a woman is when she’s a bit cryptic and mysterious. It drives people crazy.

Blind I: You’ve always been into music since you were young, but at what point did you start to take singing seriously?

Leela James: I got into it a bit later on around high school and college. I put my own band together and started to play in various clubs—wherever I could and as much as I could. I even took my student loans and paid for the band and from there I just developed and underground following and word of mouth spread. And I gave my demo to everybody that was anybody and it eventually landed in the right hands.

Blind I: Hearing about that big moment is always great. How’d you get discovered?

LJ: I got a call like, ‘Can you come down to this spot? So-and-so might want to meet you.”’  And it just came from me doing shows, and a record exec named Chris Schwartz signed me to Ruff Nation. He was the former president of Ruffhouse who signed the Fugees. He was like, ‘I love you and I love what you do,’ and that’s just how it went down!

Blind I: Last year you released a covers album, Let’s Do It Again. How did you decide on artists like Curtis Mayfield and George Clinton, and did you get any feedback from anyone?

LJ: The reason why I did the project was because I wanted to do a tribute album honoring all of those artists. I always wanted to do a covers album with my live band. I just picked songs that I liked. We only had a week to get everything done. So I went with songs we could turn around quickly and artists that I thought deserved that re-introduction of their music and their shine. I didn’t personally get it but I got feedback from other people that some of the artists were satisfied—so that’s a good thing!

Blind I:  You’re now at Stax. Is there a degree of pressure being a young singer on a label with such deep roots or is there a motivating and inspiring energy?

LJ: I’m so glad to be there because for me to be a soul artist, a true soul singer, to be signed to a legendary soul label, it just makes sense. It’s a better fit. You still need to do a whole lot on your own but having the right label it’s just an additional hand. And if they support you and get behind you it’s a bit more of a machine. Because you still have to do everything these days whether you’re indie or not. It’s all a grind.

Blind I: So you’ve got a new label and album now. How has your sound changed on My Soul?

LJ: It hasn’t really changed too much.  I’m still soulful but if anything it’s fresher and a little older because I’m older. But it’s a little more hip-hop edge to it combined with my rhythm and my blues. And that’s what I would have done with my first project, but it was like a tug of war. But I’m very comfortable with myself and I’m cool with the variety and everything that was done on this album.

Blind I:  You obviously have more creative control now. Before, were they trying to steer you in a pop direction?

LJ: Most labels have an idea of what they think a soul artist is. And sometimes it’s off. People have an idea of what neo-soul is and I’m not really that. I’m just a soul singer. So they think you know that everything has to be slow or be sung a certain way.

Blind I: Definitely. What do you think are some of the biggest assumptions or stereotypes about soul singers today?

LJ: It’s like because I wear my hair natural in an afro, they think you’re supposed to think everything is deep, burn incense all the time. Spitting out poetic lines. Your blackness is not defined by how you wear your hair or the poetry you read. I’m very much aware of things that are going on but I’m your ordinary chick. I like the same things as the next person. Either you’re just funky and you got soul or you don’t!

Blind I:  Very true. R&B is in a different place these days. A lot of the music has more of a club/party vibe and there are a lot less ballads and live instrumentation. What’s your take on that?

LJ: I think it definitely could be more of a variety. There are so many artists out there and I’d love to hear a lot of them and just to allow them to get that exposure as opposed to the same few being over-saturated. Then people think one or two artists represent the entire genre.

Blind I: you’re new video is pretty sexy. Tell me about the concept and how it ties into your new album?

LJ: I worked with Billie Woodruff the director and basically we wanted to do a classic black and white type of vibe with the song because it sounds classic and throwback. But at the same time, we wanted to do the video to basically say tell me you love all of me. Every aspect. It was a lot of fun to shoot.

Blind I:  So now you get a second chance at establishing your identity musically. If each of your albums represented as stage in your life, where does My Soul fit in?

LJ: I’m just comfortable in the sense that the first go round I was kind of like new kid on the block. So now I’m a little more comfortable in the skin that I’m in. And it’s a great time in general, I just co-hosted BET’s new series My Black is Beautiful with Alicia Renee and Kim Coles. It was fun. And I’m touring and just anticipating everyone hearing this album. I can’t wait for you to hear it.

If you’re new to Leela James or you’re a longtime fan, send an email to Maiya@blindiforthekids.com stating why you need her new album in your life. We will notify the winner on May 25 the day of her official release. Please include your address.

And check out the new video for her single “Tell Me You Love Me“

[There is a video that cannot be displayed in this feed. Visit the blog entry to see the video.]

Ready For The World: Brittany Bosco

Brittany Bosco is a dynamic artist. Musically, she’s a chameleon that radiates colors, moods and energy with every note. Her vocal range is as tremendous as her production. She’s a grounded, southern belle, cultivating a sound that’s two steps ahead of other singers. Her EPs, City of Nowhere and Spectrum, reached thousands of ears and cooked up an appetite for her official debut, Black.

This winter, Bosco will deliver a gem for audiophiles, full of live instrumentation, invigorating vocals and unique overtures.  The Savannah native recently did a series of shows in New York City that roused the underground scene and got people talking. We have been waiting for Brittany’s defining moment, which is undoubtedly approaching.

Interview after the jump.

Blind I For The Kids: You just wrapped a few NYC shows. Were they your first?

Brittany Bosco: No, my first time in New York was last year at the Knitting Factory with Peter Hadar, before it closed.  But this time, I did a show with the Jaspects and Kimberly Nichole. I did some interviews and Honey magazine was there. I had a really good time—it was dope.

Blind I: Some artists consider NYC a litmus test—a good gauge of constructive criticism since the crowds are tough? Do you agree?

Bosco: Yes they are tough crowds, I do agree. It takes them a little while to warm up. But if you’re gifted at your craft then you can win them over though. It’s not hard.

Blind I: What is your most memorable concert experience thus far?

Bosco: My most memorable show would be the one I did in March with J*Davey. I went out right before them and the crowd was totally into the performance and they were participating. It moved me so much.  I felt all of the crowd’s energy that night and I gave back to them what they were giving to me.

Blind I: You seem to incorporate many theatrical elements into your shows.

Bosco: To me, performing is just like acting. I think entertainers play a lot of different roles onstage. You have to be your own hype man, singer and sometimes background singer, yet still engaging the audience and remembering your lyrics and cues from the band. You have to take all of that into consideration.

Blind I:  I read that you are classically trained. “Black and White” feels like opera at times—it’s beautiful. How did you get involved in music?

Bosco: I got involved in music traditionally from the church. And from the church I went to audition for local plays and the chorus in the school. In high school I started developing my voice and my teacher really believed in me. She’s an opera singer and she had me singing Bach and nothing like you’ve heard from me, almost like Broadway. Then, I was asked to be a part of the Savannah Symphony Choir with like older people and I was like, ‘What am I doing here?’ Then, I got out of school I started with this hip-hop group called Dope Sandwich I used to do backup for them. They’re really great guys and I started to have my own little shows and branched out from them and that brought me to where I am today.

Blind I: You grew up in Savannah. Was it tough breaking into music from there?

Bosco: People consider the south to be on the slower side or a little bit late to get music.  But what I appreciate about Savannah is that it gives you time to craft your gift and study it and be inspired. It all depends on what side of Savannah you see. I grew up around the art community and went to art school and I really think that helped me develop my gift. The architecture and the greenery; it’s a very beautiful city and it inspired me to do what I’m doing today. It is difficult to start there. It’s a small scene and you can dominate it quickly and just be out.  I started beginning to take my career more seriously so when I felt that I’d done all that I could, I decided to go to Atlanta. And it opened doors for me.

Blind I: The Atlanta seems to be opening up in terms of experimental music. How would you describe the culture there and where does Brittany Bosco fit?

Bosco: The only difference from Savannah and Atlanta is that Atlanta has more people and a huge club scene. It’s more mainstream here like Soulja Boy and that’s not quite what we’re trying to do.  Personally, I don’t think I would fit anywhere. I don’t fit in the soul area or the hipster scene and I definitely don’t fit into the mainstream. So me and my collective started doing our own thing, like this is our kind of music this is what we do. I’m not going to compromise.

Blind I: You have this extraordinary voice, and people seem to focus so heavily on beats nowadays. Do you ever feel like you’re cheating your vocal talents?

Bosco: It is definitely hard to balance all of those different styles of singing. Sometimes people go to a show and expect to see the same thing and the minute you change it up they’re caught off guard. But with this new project, it doesn’t really give them space to say I’m going to a Britney show and this is what I’m expecting. People who know me appreciate all sides but you have to be open to different things. You have to allow the artist to grow and you shouldn’t want them to stay the same. I think that we’re now developing a strong balance. Somebody once said the best way to describe my album is like you’re defining yourself in your diary but you decided to put it on CD.

Blind I: It’s challenging to categorize your EPs. You incorporate jazz, classical, soul and hip-hop into your music. Will your next album be a bit more streamlined or move between genres?

Bosco: We’re going to begin to streamline my sound. Of course it’s going to be different variations, but you can have a certain style track and just used vocal sounds on it. As far as the music and production side of it it’s actually going to have a sound to it but the difference is the way I approach the track. I’m really excited about that to see how it develops and how it comes out.

Blind I:  Tell me about the concept behind your upcoming album Black. What’s the mood? What kind of story is it telling?

Bosco: First of all, black is like me. It’s my favorite color. We came up with the concept like there is a depression in the music that is being made. Music is not like it used to be. And if you remember like the Great Depression when that happened, I feel that with the economy and music like it was, it’s kind of like that present day. The reason why it’s called black is because we want to show people a different light. Like this is not what music really is!  And the other side of that is people’s perception of what black music is. People think black music is just the people on the forefront, but truth be told, we are the creators of everything from tribal drumming, church music, to funk to blues. People take from our culture and apply it to theirs. It’s a shame that people think that black music is just what you hear on the radio and things that you see, but it’s not. And that’s what I see my album doing – showing another route, another sound, another look.

Blind I: Which producers did you work with? Do you have a team that does most of your music?

Bosco: Yes, I work with Alex Goose, who did the Blueprint 3 outtakes recently. He got thousands of downloads in a few days. I’ve also worked with Omar Ferrer who’s worked with people like India Aire and Anthony David but what he’s doing for me is way different from what he’s done for others. I work with this band called Jungle. I think they have the potential to be the next Black Lips or the next Deer Hunter. They’re very skilled musicians and very down to earth. I also worked on a song with Spree Wilson.

Blind I: Do you write most of your own music?

Bosco: I wrote all of my own music from City of Nowhere to Spectrum but on this album my team is going to help me cultivate the songs. Usually I come out with an initial idea and they kind of pick it apart and put it back together. It’s not a one-man-band so everybody helps me with everything and I like it that way.

Blind I: Have you picked a single and are you shooting any videos? “Blues for Blue” was great!

Bosco: We are probably going to have a single by the end of October.  As far as the video is concerned, we’re most likely going to do a visual for the song it’s not going to be like “Black and White” because we’re doing something totally new and fresh from packaging to branding. It’s really exciting we’re all putting our heads together trying to do something different.

Blind I:  Is there anything else about you or the process of making Black or you as an artist that you’d like to share with your fans?

Bosco: When people see all of the fruits of your labor they think its all glitz and glamour and for show. But me and the Big Up, we work very hard for all the things we accomplish. I just want people to know that if you have a dream work hard, don’t give up and stay with your team. And I want to thank them for supporting me!

The music world is gradually starting to fixate on Francis and the Lights. Though Francis Farewell Starlite’s precise vocals and electric sound is undeniable, there is still an element of mystery looming around him like a force field. Clad in a black ensemble and his signature coif, Francis sat quietly backstage at Manhattan’s Santos Party House. His piercing eyes panned across the room as he reflected on the seemingly accelerated journey of his group. Befitting to the notion that entertainers come alive when they perform, Francis  radiated as he glided across the stage with agility. In that moment, audience members were transformed into magnets. Blind I was fortunate enough to catch up with him before the raucous crowd indulged in their energetic set.

Interview after the jump.

Blind I: Francis and the Lights formed at Wesleyan University while MGMT was there too. How did you get connected?

Francis: Well, I had a concept and formed the group. Jake, my guitar player, was the first person I asked to join the band. I’d never heard him play but I heard him talk about music. I formed my band based primarily on people’s personalities and who they were.  A feeling from that person that translates. And that’s what I needed because I write very specific parts for my music and require my band to play very specific parts. So it’s extra important that who they are comes through in those parts.

Blind I: Your first performance as a group was an entire Otis Redding LP.  That’s definitely geared toward the old souls. How did people respond?

Francis: Not all of the songs [we did] were well known. That was a very personal decision of mine because it was that particular record that I deemed a statement of purpose. It was very exciting.

Blind I: You have such a unique and beautiful sound. Who are your musical influences?

Francis: I usually don’t answer that question because I don’t really feel it’s important to name other artists when talking about my own music. I can tell you that the book The Elements of Style by Strunk and White, a writing guide, has had more of an influence on me than any other musical artist. It’s my favorite book.

Blind I: You have released records since 2007, but you’re just now getting hit with an onslaught of critical acclaim. Is it thrilling?

Francis: It’s undeniably exciting to get attention. The most important thing is to stay focused on the work. I believe there is a direct relationship between how good what I am doing is, and how much attention it will get.

Blind I: You remixed “Can’t Tell Me Nothing” to indirectly put your feelers out to Kanye West. Have any artists reached out to you in that way?

Francis: A lot of people have asked about remixing my music, which is flattering.  With the Kanye thing, I felt like it was the only way to communicate on a personal level, you know? It was literally like; I can’t call him or email him this yet. So I guess in that way, I don’t feel like I am in that position yet where someone would do that. Someone did make an unprompted remix of one of my songs and posted it and I thought that was cool. When it’s without words its more meaningful.

Blind I: What’s your response to all the comparisons you’ve gotten to other singers?

Francis: I can tell you my least favorite immediately and that’s Peter Gabriel. A lot of people have said that and it’s not something I identify with at all.

Blind I: Your band puts massive emphasis on showmanship. When people leave a Francis & The Lights performance, what do you want them to take from it?

Francis: I would like people to say after a Francis and the Lights show that it was better than I thought it would be.

Blind I: Nowadays, CDs are becoming obsolete. How does this impact for approach to marketing your albums and EPs?

Francis: I’m only trying to do what makes the most sense and considering everything.  Right now, my purpose has been to allow the most people to listen to my music as possible. That’s my directive. If a thousand people hear my music and I don’t sell anything then that’s better than if a hundred people do and I sold.

Blind I: Which blogs do you read? Obviously Kanye’s. Blind I?

Francis: Yes. He posts a lot so it’s exciting. I also read the blog of Justin Ouellette. He is the creator of Muxtape and I think his blog is very tasteful. I appreciate what you guys do too. You really love music and it shows.

Blind I: Are you guys currently recording any new projects? If so, tell me a bit about the concepts.

Francis: We’re working on a new record. I don’t know when it will be released yet and I don’t want to talk too much about it before it is finished, but I am very excited about it.

Blind I: You recently performed at your first SXSW conference. How was your experience?

Francis: It was fun. Personally, I learned a lot of things about my own music and my band. Taking it out of its element allowed me to be more objective than I normally am.

Blind I: People from different demographics seem to gravitate toward your music. The hip-hop community has been ultra supportive. What are your thoughts about that?

Francis: Well, I love all my fans for sure. It’s interesting because one of the things that I think about all the time in my music is the song. The song is the unit of what I do. If I can write a good song, it will transcend. I believe that. A song has so many elements to it and when you break it down, it’s really simple but very elemental. It’s time which is rhythm, melody, harmony and words. Then you can get into things like instrumentation, recording and style. Then you can get into who the person is and what they are saying. When I judge [music] I’m like does it resonate? In what way does it resonate? Thinking about things on an elemental level allows them to transcend the barriers that people put up in their own appreciation of music or that our culture puts up in dividing styles of music.

Blind I: What advice do you have to aspiring artists?

Francis: They asked baseball player Ichiro Suzuki that question his first year and he said something to the effect of I don’t think I’ve accomplished enough yet to give anybody advice. And I would say the same thing.

Get familiar with Francis and the Lights and show some support via their website.

If you are among the Blind I faithful, you’ve probably become familiar with alternative R&B singer Peter Hadar through the many music drops on our site. Since his 2006 debut, Memories of the Heart, Hadar’s robust vocals and intricate lyrics have remained inviting. Now onto his third major project, Blind I sat down with him to discuss music, lovemaking, and his latest EP, She’s 4 Months.

Interview and download link after the jump…

BLIND I: For those that are new to Peter Hadar, how did you get involved with singing?

PETER HADAR: Well, there was church, but I was actually too strange for the church choir. I was trying to do what I heard since I was always listening to something different, so I was trying to make sexy gospel (laughs). I would play around with it, but I thought there wouldn’t be any financial gain so I didn’t rock with singing until after college when I worked in fashion. After I lost my last fashion job I started doing music.

BLIND I: Who influenced you musically growing up? And who do you draw inspiration from now?

PH: My parents were ministers so I listened to a lot of those cool gospel groups like The Winans. Of course I grew up on Marvin. Now, I’m all about Pharrell because of his movement and impact on the industry, and how he’s sold his brand. I really respect him Kanye, Jay-z Chris Martin, Thom Yorke, Autolux and The Bird and The Bee. I’m a fan of a collage of music that’s different from the norm. It’s something I’m attracted to.

BLIND I: Your last album Well Dressed for the Art Show dropped in 2008. What direction have you moved in artistically since then?

PH: Well people are still catching onto the music I think, because I’m not really in any lane. I can rock in the hipster lane, the soul lane, the R&B lane and I want to keep it that way. I don’t want to be put in the box of oh he’s a soul cat. But you’ll see I’m going to have rock and experimental records because I don’t want to stay in one place.

BLIND I: She’s 4 Months strikes me as a concept EP.

PH: It is absolutely. Well, I did a record with Nicolay on the DJ Jamad mixtape called “Watermelon” and I got such a great reception. The fans loved it. I was just like ‘Yo, we need a baby-making album and I’m gonna do it.’ It’s supposed to be the soundtrack of music lovers for that magic moment, you know? A lot of my music is progressive in the sex theory and I’m just not scared of it if it’s done in the right way and not overt.

BLIND I: Can you break the tracks down in terms of the theme?

PH: “All Mine” is the passionate part of lovemaking. It’s like you’re all mine I am so elated that you’re mine and it’s that part of the night where you’re holding your woman . It’s the beginning where it’s an experience.
“Working” is the part where you want the woman to let you know its right.

“Sweat” is the part where you’re into it, tired or not until the climax. Everybody feels like baby-making music is supposed to be slow all the time, but that’s not true.

Then you have “Naughty Magazine.” This is not a smut record! The picture that I’m trying to depict is your woman after the climax. You’re enjoying her beauty, sweat, makeup dripping, just like you look so amazing right now.

“Watermelon” is like the beginning and the genesis of it happening again. Everyone uses cherries and strawberries. This is like using a fruit that nobody uses.

BLIND I: What are you “giving birth” to on this EP?

PH: Freedom. I went through a lot in these recent months in terms of my career and my music goals. I look at the cats like Pharrell and Kanye that paved their own way in this industry. Sometimes, as artists, we get scared to go out and do something different no matter how much the money is or whatever. On this one I tried to do my greatest work and writing. This album announced my freedom in writing what I want to write.

BLIND I: You write all of your lyrics. How personal do you allow yourself to get?

PH: Extremely. My music from now on is going to get even more personal. I’m kind of in-between on what I need to be singing about with all of the things going on in the world. It’s like should we just put out happy music without talking about the issues? But then, addressing the issues might just depress us more. My next project is probably going to be more focused and more alternative than what I’m doing now.

BLIND I: In what area did you challenge yourself on this project? Where did you push it?

PH: I feel like I pushed it on “Naughty Magazine,” which is a grower for most. And with “Working,” I think I was just a little freer with the melodies and breaking the rules of R&B in a sense. There are ten million incredible male singers in church, at open mics, somewhere in the studio. I’m trying to be more than just an artist. I want to appeal to people that enjoy weird music but not weird in the terms of un-cool. You can make different and strange things attractive and sexy.

BLIND I: Who did you work with in terms of production?

PH: My production team is called the Designers. It consists of Mike Genato who produced this version of “Sweat” and DJ Polymath 7 did the rest.

BLIND I: What other projects are you currently working on?

PH: I’m working on a collaboration with a group, Mathematics, and it’s called Peter Hadar vs. Mathematics. It should be out in the summer or maybe late fall. We’re going to do a follow up for She’s 4 Months…maybe we’ll call it Broken Condom or something crazy. But I’m hoping to do more alternative folksy EPs in the near future.

BLIND I: Your album is available on ITunes today, yet you’re allowing us to post it for free. What’s the trade off for you?

PH: It’s a ton of people that don’t know about Peter Hadar and don’t know the music. There’s so much going on in the world today, so it’s like who’s to say that you’re going to go out and cop it? So I’m giving it to you so it can possibly lure you to a show, or maybe to purchase an album one day. This is my gift to you and to my world through my music. Hopefully we make a ton of babies!

Download & check out his MySpace.

Photos: Amber Venerable

Location:Walker’s Apothecary

In a world where concept is rarely seen in a album these daze, a veteran of the game known to the true heads as 88-Keys provides us with his debut album entitled Death Of Adam, which tells the story of a man named Adam (those that went to church know who Adam is), so visual, it’s almost as if you are watching a film.

A film about Adam, a symbol/representation for man & his one downfall…

The Va Jay Jay.

If you havn’t picked up Death Of Adam… stop sleepin… PICK IT UP!

I recently had the honor of sitting down with 88-Keys when he performed @ PST in SF (Shout out to Sake One!), where he represented hip hop to the fullest with great stage presence & a perfect understanding of how to rock a mic & control the crowd. I almost forgot he was a “producer”.

He is music. & for a deeper look into it & the man himself, I give you Blind I’s Interview with 88-Keys.

BLIND I FOR THE KIDS 88-KEYS

ARTIST: 88-KEYS - INTERVIEWER: NO - FILMED & EDITED: RATHA NOU

[There is a video that cannot be displayed in this feed. Visit the blog entry to see the video.]

GET THE ALBUM!!!

Special thanks to 88-Keys & Daniel (Skyscraper Management) for their time & freshness as well as my fellow crew & fam Ratha Nou (Stablished) for the filming & editing on a last minute tip!

Whattup Kids!!

It’s about that time for us to shine the blind light upon yet another incredible individual, & this time around we are shining it on none other than Illa J!!

Last week I flew down to my hometown of Los Angeles to meet with Illa J & his manager/future wifey Stacey (DJ Soulplay). We sat in their lovely home studio & just chopped it up on everything from the NEW album (which comes out today, so go & cop yours after you VOTE!), his brother, his musical influences & Barack Obama (1CE AGAIN GO VOTE!!!)

Peep the interview!

BLIND I FOR THE KIDS ILLA J INTERVIEW PART ONE

ARTIST: ILLA J - INTERVIEWER: NO - FILMED & EDITED: KENNY CHEN

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BLIND I FOR THE KIDS ILLA J INTERVIEW PART TWO

ARTIST: ILLA J - INTERVIEWER: NO - FILMED & EDITED: KENNY CHEN

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A HUGE thank you once again to Illa J & Stacey for all their help, time & hospitality!

GET THE ALBUM!

PEEP THE SITE!

PEEP HIS SPACE!

eNjOy!