Other than that, we’ve just been focusing on another Gutter Music thing that’s coming out on, I think it’s called Science Faction on the Breakbeat Science label that’s all original, no sample music, produced by Samir and myself, with a few new guests artists and a few remixes of our music, which is gonna be a really cool project. It’ll probably be the first no-samples club thing to get a really big push. Then we have the Koch thing which is called Club Crack. We’ve been working on that for most of the summer. That’s the slowed down club beats with all the real hood B-more MCs rhyming over them. I think that’s gonna have a major impact on hip-hop, that’s gonna become like the new genre of hip-hop. And then there’s always like the Gwen Stefanis and all these people hitting us up to see what we have for the uptempo shit as well. A lot of it’s up in the air but everyone’s checking for it at the moment.
Seems like you’re a busy dude. You also run MilkCrate Athletics which, as far as hip-hop clothing companies go, has been around for quite a while. What is that brand represent to you?
MilkCrate for me is, I was always a music kid, but I was always equally doing graffiti and art, always had music and art going on. And I was always involved with hip-hop and being out on the street and just always being in the mix with all this shit, I was never really happy sitting in the house being a fan of shit, I always wanted to be involved. Either I was DJ-ing a party or I was under a bridge doing graffiti or I was buying records or sneakers, I was always out and about being active in whatever I was interested in. Now, it can be looked at as artistic shit and people can categorize it as creative, but when I was a kid you were a freak of nature for being into anything. Especially in Baltimore which wasn’t a real hip-hop based city, I mean, it was an urban, drug-infested, crime-ridden city, but it wasn’t like fuckin hippin' to the hop, there wasn’t exactly people breakdancing on the corner, more like people getting shot on the corner.
It doesn't sound very conducive to poppin' and lockin'.
It was just much harder. It wasn’t like the way NY was, where everyone’s organized and hip-hop-hooray type shit, it was like, “Yeah, we like this, but we still want some real, street, grimy shit.” That was sort of like growing up in Baltimore so, being into that shit, and being a young white kid into that shit, you really had to love it, it was about perseverance. A lot of my friends got in and got out because they couldn’t handle it, they couldn’t handle the life and the things that it entailed, being an outcast or whatever. Now, every kid is into all that shit, it’s funny.
How has it been seeing that shift? I mean you've seen all these other companies come up on this whole hype-set craze, how has that affected you?
It’s funny cause we’ve been doing it since like ’97, ’98 on a real hip-hop, real music nostalgia, and of course it’s a lot of ’80s- and ’90s-influenced shit because that’s what I grew up with. But when I came up doing all that, we were really the first company to do that shit.