Fake For Real - Tag - CeschiThe English written companion of Fake For Real: since 1997, reviews and articles about rap music2024-03-11T20:40:46+01:00Sylvain Bertoturn:md5:a035ff44a020bb716e18191580d6e9ecDotclearCESCHI - Broken Bone Balladsurn:md5:9e649f7439beadf92b0b1e497d67a2c22016-03-07T06:23:00+01:002023-01-18T08:05:40+01:00codotusylvAlbumsCeschi <p>It took time, before Ceschi was able to propose <em>Broken Bone Ballads</em>, his latest album, he recorded with the help of Factor - now Factor Chandelier - another key and tireless activist from the post-indie rap scene. Five years happened, more exactly, since the rapper and multi-instrumentalist from New Haven had released his penultimate record; five years dedicated to the development of his label, Fake Four, but also to a short stay in prison, due to questionable drug dealing charges.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/2015/ceschi-broken-bone-ballads.jpg" alt="CESCHI - Broken Bone Ballads" style="display:table; margin:0 auto;" title="CESCHI - Broken Bone Ballads" /></p>
<p><strong><a href="http://fakefourinc.com" hreflang="en">Fake Four</a> :: 2015 :: <a href="http://www.amazon.com/gp/product/B00U25DL9A/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00U25DL9A&linkCode=as2&tag=fafore05-20&linkId=ZLU7DYLTN2DISK3O" hreflang="en">buy this record</a></strong></p>
<p>Five years is a long time. And though, the rapper's style hasn't evolved much: <em>Broken Bone Ballads</em> is not too different from the excellent <em>The One Man Band Broke Up</em>, Ceschi had released in 2010. This new album stays more or less loyal to his and Fake Four's usual ingredients and flavors: it is a collection of supersonic rap flows, <em>à la</em> Project Blowed, and sample-heavy beats, like in the classic hip-hop of the 90's, but mixed with folk sounds and indie rock influences, delivered by a man as comfortable with the art of emceeing as he is with playing the guitar.</p>
<p>Sometimes, Ceschi goes into utter rap tracks, like "Forever 33" and "Beauty for Bosses"; or he sings plainly and openly, like with the very nice "Bite through Stone" and "Elm City Ballad", or "One Hundred Dragonflies", a track sounding like some 60's baroque pop song. In some other circumstances, he combines both approaches, like with the opening "Choke Parade", which is made of pure raps, except for the hook, sung on luxurious brass sounds, with melodies reminiscing of Paul McCartney's. The rapper / singer often uses this mixed formula, most of the time successfully, like with the aforementioned song, and also "Rowing In Circles".</p>
<p><em>Broken Bone Ballads</em> is named after an arm wrestling contest turned awry, but it is also about other matters: economic slavery is one of them, as well as the daily struggles of failed artists. Like he did on <em> The One Man Band Broke Up</em>, Ceschi is talking about his artistic frustrations. But he is no longer hiding behind a fictious character. His record is, more than ever, a confessional one, so intimate that it can get quite embarrassing, like with "Beyond the End", a tribute to his lost ones. However, more often than not, Ceschi is as convincing as he was on his previous album, using successfully an old trick, which consists in sharing one's pain on a light and catchy tone, like he does with the folkloric sounds of "Say Something".</p>
<p>Ceschi invited the right quorum of guests, his brother David, iCON the MIC King and Shoshin on "Kurzweil", and Sage Francis on the closing "Barely Alive", two complementary tracks, one claiming that life is hard and ungrateful, and the other that it is worth being lived. Also, this record is full of ideas, like with the accordion on "Elm City Ballad", a song about the place where the rapper grew up. And the alchemy with Factor operates as well as ever, both guys mixing in a seamless way their loops, samples and organic sounds. All in all, <em>Broken Bone Ballads</em> is completing further a discography, Ceschi's, now getting very close to first class.</p>
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https://english.fakeforreal.net/index.php/post/2016/CESCHI-Broken-Bone-Ballads#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2356KNUCK FEAST - Knuck Feasturn:md5:9dd356e2f38c6a93514b4a39c53c46e22016-01-26T23:15:00+01:002016-04-04T12:17:51+02:00codotusylvAlbumsCeschiDavid Ramos<p>Being both singers and rappers, and able to play several kinds of instruments, the Ramos brothers can record anything that suits them. All over their careers, Ceschi and David experimented all genres of music, one could possibly think about: post-Project Blowed indie rap, of course, but also folk, Beatles-like pop, crossover hip-hop with Toca, some indie rock with Anonymous Inc., and even a bit of crunk, with the parodic and much entertaining <em>Knuck Feast</em> project, they released by 2007.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/2007/knuck-feast-knuck-feast.jpg" alt="KNUCK FEAST - Knuck Feast" title="KNUCK FEAST - Knuck Feast" /></p> <p><strong><a href="http://fakefourinc.com" hreflang="en">Fake Four Inc.</a> :: 2007</strong></p>
<p>Crunk, indeed; populist Dirty South rap. And every bit of it, inclusive of raspy thug voices, sexist lyrics, rough synthesizer sounds, frantic and aggressive bounce rhythms, a club ambiance, warrior chants with a limited array of words - "you know we're nasty as fuck!" on "Nasty", "U ugly as fuck!" on the hilarious diss track "U Ugly" – and very explicit insanities mostly aimed at bitches - "I need a woman with a pussy that don't bleed no more", they say on "Suga Mama" - all declaimed on a screaming mode. In summary: this is the complete opposite of what Ceschi had offered, among other projects, on his 2006 album <em>They Hate Francisco False</em>.</p>
<p>Officially, Knuck Feast are two Georgia MCs, Crystikal and Lil' Fiesty, supported at times by Lil' Big (a.k.a. Big Lil', ah ah), Lil Leche, Rusty Fingercuffs and Big Nigga Naye – the listener will have to guess who hides behind each voice – and also the beatmakers DJ Young Cutz, Yoseph Una and Ghost Notes. And we could almost believe these were Southern rappers, except for their very fast flows and their sense of melody, two characteristics typical of the Ramos bros and their friends.</p>
<p>Can we really caricature a genre which, by nature, is a caricature, and an amplification of everything extreme in rap music? Judging by this record: yes, and no. Yes, it is possible to play with this formula, and to push it to its most absurd and humorous. And no, since at the end of the day, <em>Knuck Feast</em> demonstrates how much crunk can be sexy and powerful. Even when they are joking, the brothers make it: it is extremely delightful. Ironically, by overtly mocking the genre, Ceschi, David & co managed to release once of its most enjoyable records.</p>https://english.fakeforreal.net/index.php/post/2016/KNUCK-FEAST-Knuck-Feast#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2337TOCA - Tocaurn:md5:8c6b585b178a636f2b4935e43b79b60c2015-04-11T16:25:00+02:002016-01-25T20:21:09+01:00codotusylvAlbumsCeschiDavid RamosTommy VXololanxinxo<p>For Toca, serious matters had started in 2004, with one of these CD-Rs Cali's indie rap scene was fond of, by these times: a rock and rap crossover record named <em>Dancing with Skeletons</em>. Later on, the band had promised a real album, but it took months, and then years, before anything was released. The group's members, however, were still active. The Ramos brothers, for example, started releasing solo albums. In 2005, the quartet had even proposed one of their tracks to the Project Blowed 10th anniversary album. And in 2006, net31 was supposed to publish the album. Unfortunately, shortly afterwards, this small label had ceased to exist.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/2007/toca-toca.jpg" alt="TOCA - Toca" title="TOCA - Toca" /></p> <p><strong>Two Tone Elephants :: 2007 :: <a href="http://www.amazon.com/gp/product/B000O78L64/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000O78L64&linkCode=as2&tag=fafore05-20" hreflang="en">buy this record</a></strong></p>
<p>But finally, in May 2007, here we were: Toca's album had finally been released, and it was meeting all expectations. Mixing rock with rap was far from uncommon in the indie world; but here, the crossover was approaching perfection. It sounded normal and natural; it was very well managed. Spontaneously, easily, Toca was mixing on one single record more than 40 years of popular music, from the Beatles to the quick raps of the Project Blowed, including other things like 80's synth pop.</p>
<p>Choirs, English or Spanish lyrics, crazy flows, bombastic brass sounds, latin guitars, punk bloodshot or nice melodies: here, all was melting with everything. Jazz, reggae, funk, or even music-hall sounds were also solicited, sometimes on one single track like the well-name "Nice Try", making it all the spiciest, giving birth to plenty of potential bangers like "Toca Cant Dance", "Liar", "Ship Sinking", and the ecstatic "Hearts and Gold", with Busdriver, Pigeon John and Ellay Khule.</p>
<p>Since 2004, the band had acquired two new members, the musicians Max Heath and Danny Levin - the latter a collaborator of the greatest rock 'n' roll group ever, Built to Spill - and these reinforcements had helped Xololanxinxo, Tommy V, Ceschi and David Ramos perfecting <em>Dancing with Skeletons</em>' recipe. It was obvious with two recycled tracks. They had already been the best on the first album, but now, they were even better: now renamed "Joyful Misery", "Joy Fool Misery" had become more punk, and it included some thoughts about the happiness obligation in modern societies; as for "Where are You?", it was changed into a magnificent "Ship Sinking", less fragile but more powerful than the original song.</p>
<p>This first official album from Toca, actually, only had one flaw: except maybe with the low profile but beautiful "Irreplaceable", it lacked the most fragile side of Ceschi's ’'They Hate Francisco False'' album. But all the rest was there: the hits, the consistence, and Aceyalone, Existereo, Lucky.iam, some of the very best rappers in the West Coast Underground. It was full of creativity, and it reached a perfect balance between tradition and modern relevance. In a nutshell: it was exactly as expected. Sometimes, it can be great not to be surprised.</p>https://english.fakeforreal.net/index.php/post/2015/TOCA-Toca#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2224CESCHI - Interviewurn:md5:7a75fa54b06adb17e248a5a945ce11c52014-02-01T11:14:00+01:002023-09-12T07:22:51+02:00codotusylvInterviewsCeschiNew Haven <p>"I am one of the few remaining advocates and proponents of progressive hip-hop today". Thus says Ceschi Ramos, in our last interview with him. And he is right. Through Fake Four, the label he manages with his brother David, and through his multiple activities, he is the one doing the most, nowadays, to maintain alive the indie rap scene, as it emerged in the 90's. It is logical, then, that he shares with us his vision about this subgenre, as part of our <em>indie rap series</em>.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/2010/ceschi-the-one-man-band-broke-up.jpg" alt="CESCHI - The One Man Band Broke Up" class="media-center" title="CESCHI - The One Man Band Broke Up" /></p>
<p><em>The "indie rap series" is a cycle of interviews with key players of the late 90's / early 2000's independent rap scene in Northern America and beyond. Some of them are almost famous, some others are forgotten. These interviews will help building a book to be published in 2014, <a href="https://amzn.to/3r9dK1x" hreflang="en" title="Rap Indépendant">Rap Indépendant</a>.</em><br /></p>
<p><strong>If we have a close look at the indie rap movement, we observe that several scenes were part of this, one in New-York around Fondle'em, then Company Flow or the Nuyorican Poets Café, the West Coast Underground and the post-Project Blowed scene in California, the Midwest with the Rhymesayers label, and some others in Canada. According to you, were those all different or just one single movement?</strong></p>
<p>Those movements may have started from different places but all had very similar goals and philosophies. It was something similar to punk rock being a reaction to big budget arena rock of the 70s. Hip-hop had reached new levels of commercial viability in the mid and late 90s, while Will Smith was getting "jiggy" with it, the ghost of Biggie was riding yachts, and Puff Daddy seemed to have his hand in every major label rap release at the time. The West Coast gangster sound was diminishing from popular rap while the gritty East Coast sound had been recontextualized and softened. It was a pop rap era of Ja Rule singing gruff voiced next to a number of R&B singers or Missy Elliot driving her Jeep to the beach. Rap had gone soft and safer than ever. It was rather boring and lost the socio-political edge that had originally fueled its fire throughout the mid to late 1980s.</p>
<p>The influence of hardcore punk and indie rock scenes had spread worldwide and it was a thriving era for indie record labels. People were pressing their own tapes and CDs and a number of strong independent distributors were able to place small budget records in stores worldwide. The late 90s were also a peak for music sales in general. All of this contributed to a boom in the indie rap movement of the late 1990s which was sonically somewhat of an extension of what groups like Freestyle Fellowship or Organized Konfusion had been doing since the early 1990s.</p>
<p>By 1996 acts like Company Flow (which 5 years later formed the Def Jux collective label) had made huge waves in hip-hop while embracing a punk rock style anti-corporate, pro-independent ethos. Shortly after, the same message spread nationally and was pushed even further by collectives such as the California based Living Legends and Shape Shifters, or Minneapolis based Rhymesayers Entertainment which embraced lo-fi tape releases and 4 track recording. By the end of the 1990s collective record labels such as Oakland based Anticon or even Canadian based Peanuts & Corn were created as an extension of those same ideals.</p>
<p><strong>Where would you put the limits of this movement, in time, place, or styles?</strong></p>
<p>Context is an important aspect of this analysis because this music has been highly influential to music that followed it. Some of it may sound outdated or "normal" by today's standards but at the time of its creation a lot of this was considered highly progressive.</p>
<p>It should be noted that in this interview, when I refer to the core years of this movement, I'm mainly referring to music from the years 1991 - 2001. It should also be noted that I am focused more on an overarching sound, style and content type than a rigid concept of "indie" since those options were very limited in the early 1990s.</p>
<p>The overall sound of this rap movement is generally defined by beats and lyrics that sounded uncommon at the time of their creation.</p>
<p>The rappers who tended to be categorized under this sound are oftentimes more technically proficient, verbose and poetic than most anything that was being marketed heavily by major labels. The production techniques could vary from retro "throwback" sounds (Jurassic 5) to highly progressive sounding in nature (i.e. Company Flow and Anticon). Lyrically, rappers from this movement tended to come from an extension of "conscious" hip-hop (i.e. KRS-One, Public Enemy).</p>
<p><strong>What is left of this movement today, according to you?</strong></p>
<p>What's left of the movement today is highly splintered into many smaller sects based on certain specific sounds or fashion more than an overarching ethos as it was before. Many of the most supportive independent distributors and record stores closed their doors. There are less magazines, websites or stores interested in this kind of music - and that has led to a decrease in general awareness and popularity. Still, the scene remains relevant on a grassroots level outside of media attention.</p>
<p>Right now the most dominant indie rap culture in the world today belongs to Minneapolis. Atmosphere's enormous success has catapulted the Rhymesayers Entertainment label into the next bracket. Third wave collectives such as Doomtree in Minneapolis have developed large fan bases while still maintaining a classic indie rap, anti-capitalist and anti-authoritarian stance. Still, those artists maintain a deep respect for the roots of their music scene and have kept a vibrant independent rap scene growing.</p>
<p>Unfortunately most other geographic sects of "indie rap" were spearheaded by artists who weren't as generous to their local scenes or decided to focus on their own careers rather than develop the overall movement. Def Jux was discontinued by El P although he and certain label mates still maintain successful music careers. Sole left the Anticon collective label that he basically founded but still creates and releases music regularly. Sage Francis runs his own tight knit Strange Famous label and will start releasing his own music on there soon. Project Blowed (umbrella over everyone from 2mex to Busdriver to Freestyle Fellowship) continues to run its open mic in Leimert Park, Los Angeles but has been rather quiet as a label or collective. Los Angeles has, in turn, given birth to a hugely popular "beat scene" based around a weekly event called "Low End Theory" which is closely tied into the hip-hop scene.</p>
<p><strong>What is your personal story with indie rap?</strong></p>
<p>Although I was a rap fan as a young child in the late 1980s/early 90s, my interest in indie rap really started in high school because of the influence of some good friends. Mike King (aka iCON The Mic King) and I met freshman year of high school in 1995 and he basically single handedly influenced my growing interest in hip-hop. I had some interest in graffiti, classic hip-hop and reggae, but Mike introduced me to collectives like Boot Camp, furthered my knowledge of the Wu-Tang, and was eventually the first person to play me the Company Flow <em>Funcrusher Plus</em> cassette. We listened to a weekly college radio hip-hop show on WNHU in West Haven, CT and commonly called in making requests or shout outs.</p>
<p>The Internet was also growing rapidly at this time and introduced us to a whole world of indie rap catalogs (Sandbox Automatic, ATAK, etc.) and websites that kept us super up to date with what was coming out. I spent every summer with my father in Berkeley, CA, also so in 1998 or 99 we were well aware of what was happening in California with events such as Broke Ass Summer Jam which the Living Legends were putting together every summer until 2001, I believe. By the year 2001 my band (Anonymous Inc.) and I had traveled around California with an 8 track and managed to collaborate with a bunch of artists from the California indie rap scene including La2TheBay affiliates such as Deeskee, Maleko andTommy V, The Shape Shifters, Sole and Dose of Anticon, 2mex and Xololanxinxo of Of Mexican Descent, and Busdriver.</p>
<p>It was a super exciting time for independent hip-hop - it really felt like something important was going on. I just happened to be a teenager learning from all of these guys who were really building a world wide fan base independently in a very DIY fashion. It was inspirational to me and always stuck with me. Today I can only hope to preserve a taste of what excited me so much about this type of music in the first place.</p>
<p><strong>Would you consider yourself as part of this movement? Or is this something you don't like to be pigeonholed into?</strong></p>
<p>Yes, I consider myself part of the third wave of this movement and one of the few remaining advocates and proponents of progressive hip-hop today.</p>
<p><strong>What would be your indie rap albums top 5 or 10?</strong></p>
<p>It's very difficult for me to answer this without referring to some of the most important earlier "underground" hip-hop records:</p>
<p>- Freestyle Fellowship - Inner City Griots<br />
- Beneath the Surface <br />
- Aceyalone - All Balls Don't Bounce<br />
- Company Flow - Funcrusher Plus<br />
- Organized Konfusion - Stress <br />
- Deep Puddle Dynamics<br />
- Mindclouders - Fake It Until You Make It <br />
- The Shape Shifters - Planet of the Shapes <br />
- Awol One & Daddy Kev - Souldoubt <br />
- Of Mexican Descent - Exitos Y Mas Exitos EP <br />
- Busdriver - Temporary Forever <br />
- Clouddead - s/t</p>
<p><strong>What would be your indie rap tracks top 5 or 10?</strong></p>
<p>It's really hard to just pick a few tracks - but here are some of the more important tracks to have influenced me:</p>
<p>- Freestyle Fellowship (Myka 9) - Seventh Seal<br />
- Organized Konfusion - Bring It On<br />
- Of Mexican Descent & Circus - Night & Day<br />
- 3 Melancholy Gypsies - Sunsprayed <br />
- Awol One - Sleeping All Day<br />
- Aceyalone - The Greatest Show on Earth<br />
- Company Flow - The Fire in which you Burn<br />
- Sole - Bottle of Humans<br />
- Shape Shifters - Sacred Geometry<br />
- Busdriver - Imaginary Places</p>
<p><strong>What would be your indie rap artists top 5 or 10?</strong></p>
<p>- Freestyle Fellowship<br />
- Company Flow / El-P<br />
- Organized Konfusion<br />
- Of Mexican Descent <br />
- The Shape Shifters<br />
- 3 Melancholy Gypsies <br />
- Deep Puddle Dynamics<br />
- Eyedea <br />
- Busdriver <br />
- Anti-pop Consortium</p>
<p><strong>Overall, do you think that such a category, indie rap, was or is relevant?</strong></p>
<p>If referring to a certain era of independent rap, yes, it is very relevant. Most importantly, indie rap's influence on mainstream rap today is undeniable. After 2005 or so, mainstream rap started embracing more "weird" production and lyricism. I think it's a direct influence of the seeds sewn by indie rap. Kendrick Lamar, Kanye West or Macklemore are platinum selling major label rap artists today, in 2013 (<em>please notice, the interview took place over the summer 2013</em>), who regularly borrow directly from the independent rap sounds or lyrical styles.</p>
<p>Rap history would not be complete without mentioning the progressive side of the story. The sounds that came out of the boundary pushing late 1990s/early 2000s have clearly left their mark on hip-hop in general. It's very easy for writers to completely ignore indie rap when talking about hip-hop but, in doing so, they would be ignoring the birthplace of monumental stylistic changes in the genre.</p>
<p><strong>Apart from this indie rap subgenre, what would be your diagnosis on the state of hip-hop nowadays? What do you find appealing in today's rap music?</strong></p>
<p>Like rock music before it, hip-hop has simply splintered into many different genres within itself. The initial "one culture" KRS-One concept of hip-hop is now basically passé. Although this culture of hip-hop still lives within the margins of our small independent hip-hop community it has become largely irrelevant. Unlike 20 years ago, today you can put 5 people in a room that all listen to different forms of hip-hop and there could be very little overlap in the artists they all enjoy. Just as the punk rocker wouldn't necessarily love The Beatles, young rap fans tend to have little allegiance or reverence for hip-hop elders.</p>
<p>Furthermore, much like punks starting bands without actually knowing how to play instruments, there's a general lack of interest in skill level as well. It's almost as if the youth has grown up hearing so much skillful rap over the last 10 years on mainstream and independent levels - from artists such as Eminem or Busta Rhymes or Aesop Rock or Pharaohe Monch - that they are now preferring the über simplicity of Waka Flocka Flame or Chief Keef because it requires very little attention and is more based on energy than ability. Although I have my personal criticisms of white bourgeois fetishization of "ignorant rap" by media outlets and hipster culture, I can also recognize the basic inherent rebelliousness that attracts young people to this type of music. In the same way that certain dance tracks can successfully move a crowd for hours without a single rhythmic change, simpler rap can hypnotize and win an audience with proper backing beats and use of incessant repetition.</p>
<p>This is the climate of hip-hop we live in now - it's a time when ANYTHING GOES. Music can be recorded on phones and released easily for free, and there are very few rules. That's the main difference between then and now. The hip-hop I grew up listening to was still rooted in basic hip-hop etiquette - it was not cool to repeat yourself 100 times in one song, it was not cool to sample a song that came out on the radio yesterday, it was not cool to rap at shows over your finalized songs with vocals intact, it was certainly not cool to resample classic hip-hop beats and re-brand them as your own.</p>
<p>Nowadays all of that flies by generally unnoticed or under-criticized. In truth, indie rap actually helped to alter a lot of those original rules and therefore helped change what hip-hop meant. Some of the fads we may hate most in modern rap were first introduced via indie rap outlets. As with all art - the rule books constantly change and fads come and go. The disregard of hip-hop rules and history is actually the thing I find equally appealing and abhorrent about rap music in 2013.</p>
<p><strong>Coming back to you, what are you doing these days? What are your current projects and activities?</strong></p>
<p>I'm actually close to releasing a very limited vinyl-only album called <em>Forgotten Forever</em> with the French label Cooler Than Cucumbers. Aside from that - I'm close to finishing a project with Factor and another collection of singles and new material with DJ Scientist. On top of that I'm working on a collection of acoustic recordings for the DIYBandits label. It's a very busy time for me.</p>https://english.fakeforreal.net/index.php/post/2014/CESCHI-Interview#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2053CESCHI - The One Man Band Broke Upurn:md5:4010049d5c3d4a0fcf02b981c54b8b092010-09-11T22:17:00+02:002023-09-12T07:20:15+02:00codotusylvAlbumsCeschi <p>Over the last few years, Ceschi has never stopped being a hyperactive man. He contributed to several records from others. He finally released Toca's album. He mocked the crunk subgenre, with his Knuck Feast parody. Also, even more importantly, he created a label, Fake Four, one of the last havens for the declining indie rap scene. And though, Ceschi never released any solo album since the underrated <em>They Hate Francisco False</em>, and the wait had started being a bit long.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/2010/ceschi-the-one-man-band-broke-up.jpg" alt="CESCHI - The One Man Band Broke Up" class="media-center" title="CESCHI - The One Man Band Broke Up" /></p>
<p><strong><a href="http://fakefourinc.com" hreflang="en">Fake Four Inc.</a> / <a href="http://www.equinoxrecords.com" hreflang="en">Equinox Records</a> :: 2010 :: <a href="http://www.amazon.com/gp/product/B003LWLG66/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B003LWLG66&linkCode=as2&tag=fafore05-20" hreflang="fr">buy this record</a></strong></p>
<p>But in 2010, finally, here we are. The third album from the Latino singer, rapper and musician is finally available. And with <em>The One Man Band Broke up</em>, a piece of work which took him 3 years to complete, our man is once more at his very best.</p>
<p>He is showing a new face, though. This is no longer the Beatles album for the hip-hop generation that <em>They Hate Francisco False</em> was. On this new one, Ceschi is rapping significantly more. His tone is also less intimate. This is a more collective effort, since the rapper collaborated with DJ Scientist, the German beatmaker, as well as with other people: his pals from Toca, like his brother David Ramos, and Tommy V; and also some friends from the hip-hop underground, like Astronautalis and Sole, the producers Radical Face and 2econd Class Citizen, and a few more.</p>
<p>His formula is also more diverse. Julio "Ceschi" Ramos, though, is not coming back to the crazy eclecticism of his first album, <em>Fake Flowers</em>. As a matter of fact, <em>The One Man Band Broke up</em> is a concept album. It is about the rapper's alter ego, called Julius, and his cruel adventure in the music business. It is a tale about harpy groupies, drugs, profiteers, senseless tours, misfortunes, nostalgia, and the disenchantment of an accursed artist. At times, it looks like an autobiography; but it could also be a story of indie rap, a scene Ceschi is the last figurehead of.</p>
<blockquote><p>The moral of the story is: no one really gives a shit<br />
But don’t cry for the swatted flies, they loved what they did</p></blockquote>
<p>These lyrics are from "The One Man Band Broke up", the eponymous song. But there are others, for example on "For my Disappointing Hip Hop Heroes", sung in exactly the same mood, but with some additional pinch of dark humor:</p>
<blockquote><p>Most of us tried to jump off rooftops and threatened to slit our wrists at 14<br />
Only some succeeded and missed out on the late nineties’ underground rap scene</p></blockquote>
<p>The music supporting such lyrics is a child from Ceschi and DJ Scientist's shared passion for rap, and for 60's psychedelic rock. All tracks sit exactly between both genres. Sung melodies are blended with raps in a seamless way, and hip-hop beats embrace brass sounds, or pianos, or banjos, or accordion. And each - whatever its mood, be it inflamed or hopeless – is nothing less than exceptional.</p>
<p>This year's most anticipated album in Ceschi's specific hip-hop niche – call it indie rap, undie rap, post rap, folk rap, whatever… – is, actually, the best. And this is extremely satisfying to die-hard fans of Ceschi Ramos, like us. Julius, the suicidal hero of his record may complain rightfully about the harshness of his world; but as far as we are concerned, we find this album no less than blissful and outstanding.</p>
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https://english.fakeforreal.net/index.php/post/2010/CESCHI-The-One-Man-Band-Broke-up#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2606TOCA - Interviewurn:md5:d18f311c7c51c0eaad1db7defd4bc1a32005-08-21T20:46:00+00:002022-08-15T08:32:01+00:00codotusylvInterviewsCeschiDavid RamosTommy VXololanxinxo<p>First, I tried to contact Ceschi Ramos, whose Fake Flowers was one my favorite of last year. Or David, his brother, who’s just released a new album. But when I contacted them, all the members of Toca were available, them being the two Ramos brothers plus Tommy V. And Xololanxinxo. This was an opportunity for a joint interview with the four of them. Some of their answers got raving, particularly at the end of the interview, but some others provide us with key information about these artists’ forthcoming projects and releases.</p>
<p><img src="https://english.fakeforreal.net/public/Interviews/toca-itw.jpg" alt="TOCA - Interview" title="TOCA - Interview" /></p> <p><strong>First, can you tell us what was the genesis of Toca. Them being brothers, it's not difficult to guess how David and Ceschi decided to make music with each other, but what about the two others?</strong></p>
<p><strong>Ceschi:</strong> Toca started in the summer of 2001 when Tommy visited my brother, Pat Nagel (our bass player) and I in Berkeley, CA. We ended up recording a song together called "3 Personalities"…during that same time period I had written a guitar based song with Xololanxinxo and Tommy in mind… although I had never met Xinxo, I was a fan of his work and knew that Tommy had recorded a great song with him called "The Secret of Patience"…When Tommy heard the song we recorded he thought of calling Xinxo and playing it for him over the phone…a week later David and Tommy went down to LA and recorded the first Toca song as well as two other songs for the Anonymous Inc Seeds album with 2Mex and Busdriver…This trip signified the birth of our new Toca family….</p>
<p><strong>So far, the only long-length release I've noticed from Toca is Dancing With Skeletons. Is it the only one?</strong></p>
<p><strong>Ceschi:</strong> Ok…Dancing With Skeletons and the Joyfool Misery 7 inch are the only available Toca recordings at the moment…The Skeletons CDRs were Cds we made for a series of shows in California…it is only an introduction to what we do…Skeletons has The Toca 7 inch, Toca B-Sides, songs from Fake Flowers and Jesus Taylor Thomas and One song from the LP…We have been working on a full length album for 4 years and are coming close to finishing everything this summer…</p>
<p><strong>When do you plan to release a new Toca album?</strong></p>
<p><strong>Xinxo:</strong> The Toca album should be out in stores by the new year.</p>
<p><strong>What about other releases? Anything expected from Anonymous Inc, Of Mexican Descent, or solo Ceschi, Tommy V and Xololanxinxo releases?</strong></p>
<p><strong>Xinxo:</strong> A lot of releases are planned for this year… <em>'69</em> is an album produced mainly by Ceschi coming out next month under my label Dirty Little Baby Sitter Records… <em>Beautiful Distractions</em> is an album coming out on Temporary Whatever Records…and an Of Mexican Descent album is in the works… I am very interested in a French exclusive album due to the love I felt out there.</p>
<p><strong>Ceschi:</strong> as you may know, David has recently released his <em>Jesus Taylor Thomas</em> record which is almost like a companion to my <em>Fake Flowers</em> album…. Anonymous Inc. <em>Seeds</em> is an album that we have been recording and slowly chiseling away at since 2000… many of the songs were written before our first album came out – so it shows how old the first Anonymous Inc. album is…. <em>Seeds</em> is a "rock fusion" album of types – there is definitely hip hop and jazz scattered throughout the record… but it is a sort of deflated prog-rock record with many short songs….and many guest vocalists…I have started to work on a follow up to <em>Fake Flowers</em>… I have also recently started working with Torso (production team of Orphan and Rev. Left) on a pop hop album…</p>
<p><strong>TV:</strong> I have been working on many short eclectic songs over the last years…they will eventually be released…no time soon</p>
<p><strong>You're mainly rappers and surrounded by rappers. How have you ended up producing music that is so far from rap? Have you or some of you a "non rap" background?</strong></p>
<p><strong>TV:</strong> I was a childhood folk singer in the early 80s, I had a single out called "Don't Get My Whistle Wet".</p>
<p><strong>David:</strong> I've studied Jazz drumming since age 10…I also played flute as a child.</p>
<p><strong>Ceschi:</strong> I started playing violin at age 7 and guitar at 13…even though hip hop has always been a huge influence on our music we have never felt like making straight ahead Hip Hop music…Anonymous inc. started as a pseudo-traditional indie rock post-grunge band but eventually transformed into something very different…</p>
<p><strong>What are you listening to apart from rap nowadays?</strong></p>
<p><strong>Xinxo:</strong> John Cage, Radiohead, Super Sex Face, Manu Chao, Pink Floyd, La Bestia</p>
<p><strong>Ceschi:</strong> The Beatles, The Beach Boys, David Bowie, The Microphones, Sufjan Stevens, nearly countless Elephant 6 bands.</p>
<p><strong>TV:</strong> Kenny Rankin, Lambert Hendricks and Ross, Celia Cruz, Suicidal Tendencies, Texan Hex.</p>
<p><strong>David:</strong> The Risk Taken, The Unicorns, Laurie Anderson.</p>
<p><strong>And what about the hip hop tracks or albums that are on you playlists right now?</strong></p>
<p><strong>Xinxo:</strong> CVE – <em>Villainism</em> , Ellay Khule – <em>Jeckyl and Hyde Theory</em></p>
<p><strong>Ceschi:</strong> Harry Chronic Jr, Project Blowed, Die and Deeskee, that 50 Cent song with the Game.</p>
<p><strong>TV:</strong> Melo Man Ace.</p>
<p><strong>David:</strong> Pigeon John.</p>
<p><strong>What kind of audience assists to Toca concerts?</strong></p>
<p><strong>Xinxo:</strong> mainly strippers, b-girls and heroin junkies.</p>
<p><strong>Ceschi:</strong> xicana punk girls and the bourgeoisie.</p>
<p><strong>TV:</strong> jazz cats and indie hipsters.</p>
<p><strong>David:</strong> hip hop hippies.</p>
<p><strong>A few words about your current tour?</strong></p>
<p><strong>Xinxo:</strong> It's tore up.</p>
<p><strong>TV:</strong> Life on the road is common for me…I'm somewhat of a vagabond and have frequented shelters and cardboard boxes throughout the United States…living in a van is more comfortable than that…as long as I have my trusty ol' guitar and melodica I'm happy.</p>
<p><strong>Ceschi:</strong> Playing shows has been amazing…it's great when a Hip Hop crowd is accepting of what we do…and even better when they appreciate and enjoy what we do! I know that most Hip Hop heads don't just listen to Hip Hop…these kids seem to want something different…</p>
<p><strong>David:</strong> I quit.</p>
<p><strong>Any plan of venue to France and Europe?</strong></p>
<p><strong>Xinxo:</strong> please.</p>
<p><strong>Ceschi:</strong> we plan on touring europe with various projects in 2006...</p>
<p><strong>A question to Xololanxinxo : I saw you on stage with the Shapeshifters in Paris in 2004 and my feeling was that you were a born-entertainer. Have you any significant remembrance of your shows in France by any chance?</strong></p>
<p><strong>Xinxo:</strong> Yes…the people, the ambience, the engineers' love of the music, and most importantly the energy of the people of France… that's who I really owed my shows to.</p>
<p><strong>Any final statement or message to France?</strong></p>
<p><strong>Xinxo:</strong> Here we cum.</p>
<p><strong>Ceschi:</strong> Le jour de gloire est arrivé.</p>
<p><strong>TV:</strong> We hope you enjoy 3 piece harmonies.</p>
<p><strong>David:</strong> Ladies, my number is 203-901-3280 and my email is dramos@wesleyan.edu</p>https://english.fakeforreal.net/index.php/post/2005/TOCA-Interview#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/82