C//C for ITR: College and Music

I think the dominating sentiment with academic institutions is that arts programs are ancillary areas of study to the seemingly "more important" STEM programs.  As a result, when funding for these institutions becomes constrained, arts programs are generally some of the first programs to be affected in an adverse way.  Earlier this year, George Washington University announced it would reduce funding for the music department by 5% due to the decrease in enrollment of graduate and professional studies.  What's more is that by slashing costs it diminishes the music department's offerings to music majors, minors, and those genuinely interested by 40%.  As you'll read in the following interview, music is an outlet and a source of creative influence for many people and without programs to nurture that intrigue, it becomes more difficult for musicians to find their sound and to find opportunities to keep honing their craft. 

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MY: What would you say if you had to give advice to someone who’s looking to study music as well as go to university?  I mean, GW is obviously not easy sometimes, so what would you say to someone who’s looking to have a career in music, like yourself, while at the same time studying something that’s more “safe”?

JK: Hmm.  Yea, I’d say do music as much as you can because you love it.  And then as long as you put yourself in the right positions, anything can happen. That’s why I think its funny…I mean music school is important, don’t get me wrong.  But, I feel like I’ve been fortunate enough to be doing music my whole life, regardless of producing or whatever, I’ve always had music in my life, so these other things sort of come and go.  To be honest, maybe I won’t be a producer in the next couple of years; I have no idea.  But when people are like, “Oh, you produce?” It’s just like, music is in your life or it’s not and I think people need to realize that.  It’s not like you can just stop.  I’m never gonna stop doing music, it’s in my blood.  I want to do it regardless if I’m making money.  So, I’d just encourage anybody to continue doing music because they love it and then if they want to make it a reality, then you just gotta do both, you know.  Make the money and do both and find a way to split your interests until you can find a way to do music full-time.  There’s going to be people who say you can’t, but f*ck that.  There are people telling me that right now.  They tell me you can’t split them, you gotta choose.  Well, no.  I’m not going to do that.  I’m going to do what I want to do.

MY: Are you involved with the music community at GW?

JK: Not as much anymore, I wish.  I just kind of faded.  My freshman year was when I was really involved and we had a couple of guys like Louis Diller and Davie who kind of pushed me in the right directions.  I went to these jam sessions [GW Jam Sessions] that are about to disappear.  If I didn’t have the jam session, I probably wouldn’t be here right now.  That’s where I met Louis Diller who is now signed to Glassnote and is traveling all over the world and yea; he’s a major sh*t now.  He was super influential for me because after he graduated he went and did his music sh*t and made it his reality and that’s just awesome.  That’s the reason I did the Holychild remix because that was him and I was like, ‘Yo man, I love to work with you.’  So yea, I think I was involved, but it kind of dissipated because the community who was really about it just disappeared and it was already two or three people.  I think you have to find those people who are really down to make music, and it’s hard.

MY: Would you say the GW music community isn’t as strong as it can be?

JK: I would say they’re not really good at promoting themselves.  That’s the major issue.  Like they have a scholarship that’s 25-grand a year that I didn’t even know about because they don’t publicize it.  The scholarship is an investment and they don’t understand that.  They aren’t good at marketing themselves and I think they could get a lot more talent to come to GW if they did.

C//C for ITR: Entrepreneurship and Indie Labels

Today, we pick up the conversation with Cautious Clay regarding his involvement with a young, DC record label, Proper Vibes. The traditional framework of the music industry where an artist is signed under a record label has limited artists' ability to control his/her sound and act.  Before the disruption of the internet and music streaming services, like Napster, Spotify, and SoundCloud, artists had to rely on the financing and connections of major labels to distribute their music.  As a result, artists have had to relinquish some of their artistic freedom to acquiesce to the more popular or mainstream sounds those labels try to capitalize on; however, what we've seen over the past several years is a shift in control.  Artists of all popularity have begun to cut out the intermediary record labels to start their own independent entities to distribute their art.  Not only have large independent labels, like Jay Z's Roc Nation or Top Daw Entertainment, risen to prominence, but the accessibility and innovation of the worldwide web has enabled emerging artists to form their own collectives to promote their music.  No longer is it necessary to have support from bureaucratic executives looking to take advantage of musicians, all it takes is a click of a button to make your content accessible to everyone. 

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MY: You opened up for Lido right?

JK: No, no that was Keylow.  He actually lives in this building, too.  He’s a chill dude.  He runs Musx, which is a promotional company.  It’s a music app, it has a pretty big influence.  They just did a showcase with Moving Castle, which was pretty cool.

AY: It’s funny that you mentioned that.  I think in the EDM community there’s a culture of doing things on your own.  Honestly, you guys are pushing your art and product on your own.  You have Proper Vibes and this app you just mentioned, it seems like there is this big underground community of people doing things on their own.

JK: Yea, for real.  I mean really that’s the way it is.  It’s so funny because even only being a producer for a year and a half, I feel like I’ve seen the gamut of just the major leagues to doing your own thing to being an instrumentalists and not even knowing how to produce, like I’ve seen this all since my freshman year of college and it’s just been crazy.  I feel so fortunate to be at the position I’m at right now because I’ve worked with people who work at Warner, you know, but at the same time I wasn’t producing at the time.  And then you have these people who are not even linked to that who are just making it on their own and their just doing it.  They organize their own bookings, their own shows, their own publishing; everything is just them and it’s just crazy to me.  It sounds novel, but I think it’s really cool to think about.

MY: Touching on that, what has it been like working with Proper Vibes?

JK: I help organize some of the events with Proper Vibes, but Proper Vibes is nothing but family, they’re great guys.  They have just been a platform for me to have a community that can work around each other.  We kind of work together and make our own stuff.  We started off in very much a similar way, I’d say, like Moving Castle.  It’s just a really cool community for us to throw shows and events.  I mean, we are a record label, too, but I’d say we are more so kind of an events entity right now.

AY: How receptive has the community been towards your events?  Are you getting nice turnouts and growing a fan base as well?

JK:  Oh yea, we are definitely growing a fan base.  We’re going in a positive direction, which I think is great.  I think there have been some logistical issues over the past year that we’re working out, but it has been nothing but positive.

Who is Cautious Clay?

Josh Karpeh has been around music his entire life, but over the past year and a half this passion has manifest itself in the musical act Cautious Clay.  Clay's sonic amalgamation of jazzy, trippy, and deep house tropes have been well documented not only by InTheRough, but also by influential DJs, such as Phill Taggart of BBC Radio 1, as well as electronic music website, Blisspop.  Over the course of the last several weeks, though, InTheRough has been able to delve into a number of conversations with the emerging DJ.  Josh Karpeh, a soon-to-be graduate of the George Washington University is at an interesting point in his life and musical development.  Topics ranging from his background, entrepreneurial foray, involvement in the music community at GW, and London experience help provide insight into the enterprising role of an artist balancing the rigors of growing up and honing his craft.  This week, we are pleased to present a spotlight series on the man behind the act Cautious Clay.

*Contributions from Josh Karpeh, Alex Young, and Maxwell Young

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MY: Where does the idea for a track come from?

JK: I do tracks in a very linear way.  Everything starts off in one area and just kind of goes.  It doesn’t have to really have a course or pre-course, especially with electronic music.  With this kind of project, Cautious Clay, I’m really thinking about making something completely different and driving on a lot of different influences and kind of putting together something that’s completely inspired by my own feelings and thoughts.  It’s something to prove to myself more so than necessarily other people, even though I really hope other people like it.  I’m always creating all different kind of sh*t, but with this kind of sh*t I think definitely just kind of progression that’s my own thinking.

MY: What kind of music did you listen to as a child?  Especially with “Let it Whip,” that really resonated with me

JK: Well I mean soul, like The Delfonics, and a lot of soul and a lot of jazz.  I just say soul and jazz were my biggest influences growing up because my parents loved great music and they still do.  I was inspired by their listening habits and just took it in my own directions.  I mean I didn’t really start to produce until about a year and a half ago.  Being a producer was always something to me where I had an interest in it but, I always thought it was way too removed for me because I was never good with computers.  And I was always just like, ‘This is intimidating.’  And then one summer going into my junior year, I picked up FL Studios and then I liked that and realized it was hard and picked up Abelton in that same period and kind of just went with it.  And literally hours and hours and hours every single day for a year and a half and now I’m here.

AY: You said that growing up your parents’ listening habits influenced your work.  But who in the past three months would you say you’re listening to who has influenced some of your past projects or things you’re currently working on?

JK: I’m really about this future beats thing, but I’d say I’m not as much inclined with the idea of future beats but more just the concept and the perspective on music, like making music that’s oriented towards the future.  So, kind of making your own sound in a way that’s more respectively you, not just beats.  I’d say Pomo is a big influence, KAYTRYNADA, Sam Gallantry—for sure Sam Gallantry—Lindsay Lowend who’s also really cool, Lido, and Cashmere Cat.  Those guys are pretty good too.  Those are probably the artists who influence me. 

MY: How have you tried to utilize the flute and the saxophone in your music? It’s definitely a clear part of it, especially with your training.

JK: The concept of improvisation for me is so strong in my music.  Not only in just having the flute and saxophone, but just how I construct my songs, you know every piece is integrated and very specific, and I do it for a reason.  So I feel like that’s always going to be a part of my music, but as for the flute and saxophone being there, I feel like it creates a different element in my production that a lot of people don’t use.  Not that there aren’t other producers who use the flute and saxophone, but I want to solo.  I want to have something that hits people in that way.  I’m going to keep doing that in a lot of my music because it’s kind of like my signature.

MY: You’ve been playing the flute for some other artists, right?

JK:  Oh yea, for sure.  Flako just released his EP and I was playing the flute on his song “Golden High,” so that was pretty sick.  And then MNEK’s song “In Your Clouds,” I played flute on that one.  I play with robstokesband, which is fun.  I love collaboration.

MY: What’s the editing process like when you send your pieces to these artists over seas?

JK: Usually it’s through Splice, which is a program you can send files over very easily and seamlessly, especially if you’re using Abelton or FL Studios.  I’m actually doing a mix for the Walking Sticks.  I’m helping them mix their next project, so Splice has really been helpful.  Collaboration is usually me or someone else starting a track off and just sending it back. 

AY: Has that happened with a lot of your tracks?

JK: Yea, I mean everything that I’ve released has been completely me, but I’m working on a lot of collaborations right now that just haven’t been finished, so it’s a matter of me getting back to them or them getting back to me.

AY: Is there anything that you’re working on that’s different than what you’ve already released?  Have you dabbled into something that might be more hip-hop or other genres?

JK: For sure. Yea, I do.  I have stuff that’s a little bit more soul, but I just haven’t released it because I haven’t finished it; there’s so much sh*t that I start and don’t finish.  And I think part of that is because my writing process for Cautious Clay just kind of starts and stops sometimes.  But yea, definitely harmonies and vocals I’m trying to work more of that into my music.  I just think I’m in a very technical mood at this point.

AY: Have you found yourself going from different moods?  What was before your technical mood?

JK: Yea, I think I was really into songwriting before that.  That’s where I started off, wanting to do my own thing.  I was actually just going to do just a band, but I was like ‘F*ck this. This is too hard.’ So then I started making beats and it wasn’t until four or five months ago that I felt I could release something because I wasn’t comfortable with my skill set.  I mean yea, I f*ck with too much jazz and soul to not have that in my music.

Rappers Under 25 Worth the Conversation

Out of curiosity, I asked a friend in what context Mac Miller would be considered the best rapper.  He quickly and confidently responded, "Never," but I wasn't satisfied.  Although it is an absolute reach to call the Pittsburgh rapper the best in any feasible category, I continued to search for criteria that would warrant such a discussion.  "What about the best rapper under the age of twenty-five?" I challenged back.  He was quiet for a moment.  Struggling to counter, I knew I had stumbled upon an interesting topic. 

On any given day, several artists could drop full-length projects while another handful could release any number of single tracks for fans and critics to scrupulously devour.  Add on the fact that Drake and Kendrick Lamar's reign over radio waves limits the amount of space available to emerging rappers, and you can understand that is has become increasingly more difficult to keep track of every artist and every development in the rap scene.  

Rather than attempt to justify who I think the best rapper under twenty-five is, the thought provoked an intrigue to highlight some of the genre's budding talent and emcees who have proven to display elements of versatility and characteristics that are unique to their own aesthetic.  I think the unfortunate truth for some of these young rappers is that their art is being misperceived as an assimilation to mainstream or popular music.  It's almost as if to say artists like YG,  or Chance the Rapper, who are (a) all under twenty-five and (b) making music that can be considered commentaries on their social environment, are creating different sounding music that is somehow not real rap music.  If rap is an art form, which I'm a firm believer that it is, shouldn't we respect or at least consider the projects some of the game's youngest talents are producing?  I mean, as much as it is important to have varying viewpoints on today's current output, who's to say My Krazy Life or Acid Rap won't be of some cultural significance thirty years from now?  Contributions from guest writers and InTheRough staff members help accentuate the variety of styles within modern hip-hop, as well as the divide that has arisen between rap purists and those heavily influenced by the current rap environment.  In essence, the following statements are representative of those hip hop artists under twenty-five years old who have particularly grabbed the attention of some of its most avid listeners.

Tyler the Creator

The scope, popularity, and saturation of rap has never in history been as large and geographically decentralized as it is right at this moment. The internet has played a key role in translating hip hop culture into an accessible genre to a much larger group of people than ever before. Tyler the Creator was able to pioneer his own success online by building his image, brand, and status and tapping into this fan-base that would have otherwise been unaccessible to him and his idiosyncratic sound. An anti-hero to hip hop industry and even societal norms and guidelines, Tyler is the poster child of one of the first international hip hop subcultures built almost exclusively on the internet. His social media prowess, creativity, and vision for change makes him a very influential force in the development of how hip hop is created, marketed, and consumed. 

~Alex Hersh, InTheRough staff

Mac Miller

Born in ‘92, Pittsburgh local Malcolm McCormick has flourished from a rebellious dank smoking wordsmith to the multi-talented, multi-millionaire superstar he is today. Since 2008 Mac has been building on his noteworthy repertoire of mixtapes, studio albums, EPs, and live albums. While his style has changed throughout the years, his artistic ability has thrived from the dedication and hard work he puts into each production. Mac’s music is a strong example of true artistry in today’s game that is often hard to find. What sets him apart is that he is not just a rapper, Mac is a versatile musician who plays “a bunch of instruments, like piano, drums, guitar and bass.” He even shares with thedrop.fm that he plays the kazoo every now and then and is trying to learn how to play the trumpet and the saxophone. On top of that, under the pseudonym of Larry Fisherman, Mac has become a noteable producer appearing on nine projects including Lil B’s "05 Fuck Em," SZA’s "Z," Vince Staple’s "Stolen Youth," and Ab Soul’s "These Days…." Whether it be his classic, weed infused 'The High Life,' the smooth and jazzy 'You,' or the comic, animated haze of 'Watching Movies with the Sound Off,' Mac places no boundaries on his music and his ability to drop countless first class projects.  I look forward to watching the once high school hallway freestyler known as EZ-Mac continue to grow and succeed as a rapper and artist.

~Justin Berk, guest writer/hip hop aficionado

G-Eazy

Effortless style, swagger, and a mesmerizing presence to match: G Eazy is on the path to take over the industry, with the Bay Area on his back. With the likes of Stevie Wonder reiterating that he is the "future of our generation, it is truly his destiny." After his album, 'These Things Happen,' dropped last summer, his name has been in the mouths of various hip hop heavyweights from various generations. With a unique talent of mixing samples from every genre, his album is full of bangers. His brand is even more unique: focusing on channelling a 1950's vibe with an essence of class, poise, and suave. His image portrays a mix of lady killer and a young guy who makes enthralling music for college raves throughout the nation. I suggest you check out his songs: "I Might" and "Let's Get Lost" (featuring Devon Baldwin) to get a taste of his variety and what makes him truly mesmerizing. 

~ Sydney Vann, founder of The Artistic Playground and The Kickback Series

Yung Lean

So this kid is only 18 years old, but his vision is strong. He’s foreign as f*ck and looks kind of like an Aryan teddy bear. He has a pale baby face with dirty blonde hair and blue eyes. He looks 100% Swedish which makes sense because he’s from Stockholm. Yung Lean is an influential rapper under the age of twenty-five not necessarily because of his flow but because of his aesthetic and overall vibe. His music is basically slow, auto-tuned verses about lean and Gucci over cyber ghetto trap beats. All of his album covers and merch are real wavy with a 2003 feel and bright neon. You can get a hot pink ski mask if you want.

This sort of trippy music is up and coming. Travi$ Scott, who is featured on a Yung Lean song, has a music video for “Hundred Bottles” that has the same dark 80’s-videogame-on-acid  feel. I think Yung Lean is the founder of that concept and has been doing it since he started rapping. What's more, his shit is produced by Yung Gud, a member of his Sad Boys squad. So the vision and the final product is entirely his.

I’m also a fan of Yung Lean because he just doesn’t give a f*ck in the most low key way. He wears Uggs and Fendi together and is touring around the country hitting small venues that have a lot of local recognition. Keep your eye on him. He doesn’t have an agent or a manager that’s constantly pushing his sh*t for publicity. He’s just doing his thing and people that are real about music notice. That, and his song “Leanworld” is dope.

~ Emma Ashworth, guest writer/Coachella 2015 attendee

Travis Scott

Travi$ Scott in my opinion leads all contemporary artists in terms of performance. Present for his March 17th Rodeo Tour show with Young Thug, I was immersed in Scott's world. The show's venue, Fillmore, generated an intimate atmosphere that was loud, sweaty, packed, and excited. There is a dark aspect to the Houston rapper. Deep bass hits, eerie auto tune, and melodies that inspire movement all surround the ethos that a Travi$ Scott show is parallel to the craziness of a rodeo. VIP and backstage access are largely looked down upon, all the action happens in General Admission: water bottles fly into the crowd, expect a foot to the face because of the crowd surfs, and be prepared for the raging mosh pits all of which are encouraged by La Flame! It is easy for the crowd to match his intensity because it is welcomed by the music and his grounded personality. When Scott took the stage it was apparent he simply wanted to give his fans a good time. He stopped various times to shame the Snapchatters in the crowd proclaiming the experience is what mattered. While his G.O.O.D Music affiliation is impressive, what has hooked me to Travi$ Scott is his ability to embody his work; what you hear is what you get.

~Alex Young, InTheRough staff

Documenting George Washington University's 2015 Spring Fling with 3lau and Theophilus London

Washington, D.C. has become a home and a place of influence for InTheRough. Family and friends, travel, as well as College have all landed ITR in our nation's capital. D.C.'s classical metropolitan area featuring major sports, delicious eats, strong cultural centers, nightlife, and the unique characteristic of being America's Mount Olympus lends itself to an environment that inspires growth and creativity. Popular culture thrives in D.C., spawning artists like Wale and collectives like Proper Vibes who represent the area's appreciation for its consumption of Goods. These made George Washington University's April 4th Spring Fling concert with 3lau  and Theophilus London as well as a trip to Georgetown a welcomed event for InTheRough.

Electronic producer 3lau coolly took his position behind his computer, black Wayfarers intact, and met a GW crowd he was impressed by, jumping off stage to interact with the front row mid show. Theophilus joyously followed the electronic house producer bouncing to the stage with a huge smile and an aged pair of Air Jordan 1 "Royal" on his feet. His performance was exciting in large part to the rapper's live band and set list, which he chose via the MacBook eight feet to his left on stage. Theophilus' 2012 track "Big Spender" was flipped into a pleasant version we had never heard.  He too exchanged pleasantries with the crowd giving High Fives and hugs to anybody that wanted one.

Footwear was an interesting observational piece at the concert. The day's nice weather made sneakers a common theme. Progressive and hip hop influences the performers provided, matched with George Washington's setting placed keen attention to kicks. The Swoosh and its Jumpman bi-product were easily noticed in a sea of white Chuck Taylors. So, a visit to Nike Georgetown to conclude the trip seemed appropriate, especially when an inflated basketball teaches you a life lesson. 

InTheRough's latest trip to Washington, D.C. offered the opportunity to document George Washington University's 2015 Spring Fling. It also fostered an interesting conversation with somebody featured on ITR often, Cautious Clay. The DC based artist speaks on his talent, Ableton production, the D.C. music community, and his future in a forthcoming interview with InTheRough.