If you want something done, you have to do it
yourself. This ideology is essential in the hip-hop culture &
business. For a single LP, major labels invest colossal sums of money
for a myriad of trendy producers and guest artists. Independent artists
must depend on their own talent and persistence to ensure the creation
of their art. Distrakt is an emcee / producer who does not have the
luxuries of major label backing, high populated cites for street
promotion, or guest appearances on other artist’s albums. Since he is
based in Colorado, he did not have the support of New York City, Los
Angeles, Chicago, or other major cities. Distrakt remained focused
while maintaining creative control without the distractions of jewels,
empty promises, spinning rims, groupies, clubs, and slimy labels.
In late 2006, Yard Rock Records and Fat Beats released Distrakt’s debut
album titled, “Distraktions”. The LP is 100% of Distrakt. He produced,
mixed, engineered, and recorded every single track. The minimal amount
of songs with additional vocal appearances are by unknowns. Distrakt
even created the CD’s enhanced section by himself. The foundation of
complete creative control was the sunlight for Distrakt’s album to
bloom. The clever song, “Drugs” showcases an emcee’s addiction to
hip-hop. In the song “Lessons”, Distrakt uses a sharp wit to tell tales
of people forced to learn from their mistakes. “Dirty Record” is a
witty song about crate digging and how people mistreat the sacred
vinyl, the heart of the hip-hop art-form. Other solid tracks include
“Fire Escape”, “Few Bars”, and “Don’t Get Mad”. As an album,
“Distraktions” is a refreshing distraction from the watered-down
forced-fed hip-hop that engulfs us.
Distrakt deserves respect simply for his endurance, persistence,
creative control, and self-reliance. This actual interview was made
possible because of Distrakt’s persistence. He did not have the help of
a publicity company or publicist. Distrakt was the one who hunted me.
If anyone thinks that hip-hop is lacking the hunger of years ago,
Distrakt proves them wrong.
TODD E. JONES: “What goes on?"
DISTRAKT: “Maintaining.”
TODD E. JONES: “Tell us about your first release, ‘Distraktions’
released on Yard Rock Records and Fat Beats.”
DISTRAKT: “It's a record that came natural. I discussed subject matters
like staying focused, surviving, watching out for snakes, and giving it
back to the pioneers & fathers who blessed us with hip-hop. If it
weren’t for them, I don't know what I would be doing.”
TODD E. JONES: “You produced the entire ‘Distraktions’ LP. These days,
hip-hop albums have a myriad of different producers for each track. Was
this an intentional move?”
DISTRAKT: “This was very intentional. I love to create beat
designs to rhyme to. There are not that many dope emcee producers out
there. I wanted to add on as greats like Rza, Diamond D, Extra P, and
MF Doom.”
TODD E. JONES: “What song on the ‘Distraktions’ LP took the longest to
complete? Why?”
DISTRAKT: “Everything flowed on this record. The process was mad
nice. I worked on the beats for a few days. Then, I went back and
started writing to the joints that talked to me. I didn't force
anything. I just treated this album like I was digging for dope records
in an old, underground, incense-smell filled, used funk & soul
record store.”
TODD E. JONES: “Do you have a favorite track on the ‘Distraktions’ LP?
Why?”
DISTRAKT: “All of them are my favorite, but “#!*@ Ain't Sweet"
really takes me there. That song truly displays my feelings on how cats
take kindness for a weakness. So, I just had to wave an ammonia capsule
under their noses to let them know that Distrakt is no slouch.”
TODD E. JONES:
“When creating a track, do you have a pre-conceived theme and
pre-written lyrics? Or, do you start with an idea or the music first?”
DISTRAKT: “I let the beats dictate the rhymes on this one. When I
hear beats and see how they bump through the speakers, I feel in the
pockets with rhymes. This process is one of many in my creative pulse.
I am a think-tank. Every project I approach will have a different
process or it will be mixed with a combination of previous elements.
But, it will always be original.”
TODD E. JONES: “How did you hook up with Yard Rock Records?”
DISTRAKT: “Through ambition, research, and motivation.”
TODD E. JONES: “What is the meaning behind your name, Distrakt?”
DISTRAKT: “D.I.S.T.R.A.K.T. stands for ‘Developing Infinite
Sounds Truly Revolutionizing All Known Thought’. You'll never know what
to expect from me, like to get in and get out.”
TODD E. JONES: “Tell us about the enhanced section of the
‘Distraktions’ CD.”
DISTRAKT: “This was a way to take the CD a little further and
give you a demonstration of what it's like in Distrakt world. Those who
have not seen my live performance, get the opportunity to experience a
dose. The things I do in shows are not the average conventional
performance. I wanted to document this, being the first to do many of
those things. You have to see a live Distrakt show.”
TODD E. JONES: “What is your favorite part of your live show?”
DISTRAKT: “Catching people off guard and shocking them with the
unexpected.”
TODD E. JONES: “What is the biggest mistake you have made in your
career?”
DISTRAKT: “Missed opportunities waiting on others. That's why I'm
a solo artist now. If you want something done right, you have to do it
yourself.”
TODD E. JONES: “The atom is part of your signature visual emblem. Why
did you choose this and what is the significance of the atom to you?”
DISTRAKT: “Basically, dropping energy.”
TODD E. JONES:
“What do you love about crate digging?”
DISTRAKT: “Discovering new hits and sounds. Album covers are
inspiring and seeing the growth of music in all genres is cool.”
TODD E. JONES: “As a producer, would you ever make an instrumental LP?
What instrumental albums did you like best? Why? In your opinion, what
makes a solid instrumental hip-hop album?”
DISTRAKT: “One day. ‘Hydra Beats The Next Level Vol.1’ by
Godfather Don, J Dilla’s ‘The Shining’, ‘Donuts Instrumentals’, and
Madlib’s ‘Beat Konducta Volumes 1-2: Movie Scenes’. Longevity. The
difference between a fad beat and a classic beat is the difference.”
TODD E. JONES: “On the song, ‘Power, Money And Influence’ from Guru’s
‘Version 7.0: The Street Scriptures’ album, Talib Kweli makes a comment
that Pro-Tools made producers lazy. Do you agree?”
DISTRAKT: “To me, it’s just a recording program. Does it make
producers lazy? I think it makes their job a little easier, when
they’re dealing with a budget and they need to get the job done. Not
everybody can do an amazing one-take, like Kid Hood did on ‘Scenario’
with A Tribe Called Quest.”
TODD E. JONES:
“Who are some producers you would like to collaborate with in the
future?”
DISTRAKT: “There are a lot, but Premo, Pete Rock, Ced Gee, Rza,
MF Doom, Madlib, and J-Zone.”
TODD E. JONES: “Who are some artists you would like to collaborate with
in the future?”
DISTRAKT: “Again, there are a lot, but BB King, Kool Keith, MF
Doom, and Buckshot.”
TODD E. JONES: “Recently, what music have you been listening to?”
DISTRAKT: “To be honest, I’ve been making music. I’m listening to
old wax and making my own creative and original music.”
TODD E. JONES: “What was the last incident of racism you experienced?”
DISTRAKT: “There’s a song on the album called ‘Stereotypes’ that
talks about some harsh experiences. The most recent one? I’d rather not
go there. It's a negative vibe.”
TODD E. JONES: “Where were you on the September 11th terrorist attack?
How did you handle that experience?"
DISTRAKT: “That was a horrible day, man. I was in the kitchen,
eating breakfast. When I saw it happen, I felt pain for everyone
involved.”
TODD E. JONES: “Word association. When I say a name of a name, you say
the first word that pops into your head. So, if I said, ‘Flava Flav',
you may say ‘Clock’, ‘Crack’, or ‘The Surreal Life’. Okay?”
DISTRAKT: “Let’s go.”
TODD E. JONES: “Little Brother.”
DISTRAKT: “Red beans and rice.”
TODD E. JONES: “Jay-Z.”
DISTRAKT: “Hustler.”
TODD E. JONES: “Common.”
DISTRAKT: “Sense.”
TODD E. JONES: “Nas.”
DISTRAKT: “Lyrical master.”
TODD E. JONES: “Sean Price.”
DISTRAKT: “Hard to the muthaf*cking core!”
TODD E. JONES: “Sadat X.”
DISTRAKT: “Wild cowboy.”
TODD E. JONES: “Atmosphere.”
DISTRAKT: “Underground geniuses.”
TODD E. JONES: “Eminem.”
DISTRAKT: “Dope.”
TODD E. JONES: “George Bush.”
DISTRAKT: “Ain’t the devil happy.”
TODD E. JONES:
“In The Consolation of Philosophy, Boethius writes, ‘It's my belief
that history is a wheel…. Rise up on my spokes if you like but don't
complain when you're cast back down into the depths. Good times pass
away, but then so do the bad. Mutability is our tragedy, but it's also
our hope. The worst of time, like the best, are always passing away.’
What works of art, literature, or music helped you maintain?”
DISTRAKT: “Lectures and writings by John Cage. KRS-One has
always been a strong teacher for me.”
TODD E. JONES: “Do you think success and credibility are mutually
exclusive?”
DISTRAKT: “No. To me? Yes. To me, yes. You could be
successful at what you do and not get the credit you deserve. Meaning,
I did my latest record without features that display my true skills.
Some record labels out there won’t even mess with you, if you don’t
have someone on it who is creditable.”
TODD E. JONES: “Tell us about your next album.”
DISTRAKT: “I’m taking an unorthodox approach with a deep-rooted
foundation in authentic hip-hop.”
TODD E. JONES:
“Are you producing your next album all by yourself
again?”
DISTRAKT: “True indeed!”
TODD E. JONES: “Final words?”
DISTRAKT: “Thank you, Todd E. Jones, for the interview. You are a
great dude! Thank you again, Todd. This is truly one of the greatest
days of my life. I’d like to say to any emcees or producers out there,
to be original and add on. Go visit the Distrakt website at
http://www.distrakt.com and http://www.myspace.com/distrakt. One!”
Interview: DISTRAKT