Fake For Real - Tag - Mr LenThe English written companion of Fake For Real: since 1997, reviews and articles about rap music2024-03-11T20:40:46+01:00Sylvain Bertoturn:md5:a035ff44a020bb716e18191580d6e9ecDotclearCOMPANY FLOW - Little Johnny From The Hospitulurn:md5:90141964db3d1c49121530738207004d2015-07-27T22:49:00+02:002023-02-07T17:31:38+01:00codotusylvAlbumsBigg JusCompany FlowEl-PMr Len <p>One thing is certain: after their mythical <em>Funcrusher Plus</em>, nothing could challenge the iconic status of Company Flow, in the hip-hop underground. Their next album, though, could have rattled it. Actually, just when the group was on its way to imposing its uncompromising kind of rap to a growing indie audience, it had chosen to come back with a more difficult album, even harsher and crazier than the previous one; and furthermore, it was purely instrumental. More loyal than ever to its motto, "independent as fuck", Co-Flow wasn't going the easy way.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/1999/company-flow-little-johnny-from-the-hospitul.jpg" alt="COMPANY FLOW - Little Johnny from the Hospitul" title="COMPANY FLOW - Little Johnny from the Hospitul" /></p>
<p><strong>Rawkus :: 1999 :: <a href="http://www.amazon.com/gp/product/B00001T3H3/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00001T3H3&linkCode=as2&tag=fafore05-20" hreflang="en">buy this record</a></strong></p>
<p>By removing the raps, however, wasn't Company Flow making a virtue out of necessity? Wasn't the ex-trio finding a way to cope with the departure of its best rapper, Bigg Jus? By making their music exclusively instrumental, weren't El-P, the beatmaker, and Mr. Len, the DJ, hiding a lack of inspiration? And what about the odd concept around Little Johnny, some imaginary character supposed to represent the bad shape of the US society? Wasn't it too much conceptual?</p>
<p>As a matter of fact, El-P and Mr. Len would release a CD version of <em>Little Johnny</em> in Europe only, a place often considered as friendlier to avant-gardism, than the US. And some would be skeptical, a bit dampened by the tough sound of the album. Their concerns were unfounded, though. This record was just another evidence of Co-Flow's inclination for somber and scary ambiances. It even had a track, "Indelible Hybrid", reusing the great beat of "The Fire In Which You Burn. And the group – well, the duo now – still had some stories to tell, as with "Suzy Pulled a Pistol on Henry", a reinterpretation of De La Soul's "Millie Pulled a Pistol on Santa", reporting the bloody vengeance of a young victim against a pedophile.</p>
<p>The beats and the sound had evolved, though. <em>Little Johnny</em> was more abstruse than ever, despite the few bangers that "Friends Vs. Friends", "Bee Aware", "Worker Ant Uprise", "Happy Happy Joy Kill", and the brilliant Transformer-sounding "Gigapet Epiphany", were. Also, it delivered something new, unrelated to the various kinds of instrumental hip-hop that existed in 1999. It didn't look like DJ Shadow's soundscapes, the virtuoso craziness of turntablism, or the melancholic contemplation of trip-hop. No, it was something entirely different.</p>
<p>Sometimes, the duo's ideas could be reminiscent of the most experimental side of electronic, or the abrasive sounds of some guitars would remind rock music; but this was still, mainly, essentially, hip-hop music. Also, it forecasted the prog rap style that would characterize El-P, when he would start his solo career with Def Jux – actually, and though the record was released by Rawkus, the name of his new label was already written on the cover art. It was also the ultimate proof that, by 1999, Co-Flow was the open and uninhibited group that rap had been missing.</p>https://english.fakeforreal.net/index.php/post/2015/COMPANY-FLOW-Little-Johnny-from-the-Hospitul#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2260MR. LEN - Interviewurn:md5:8e936d4cd606a58754fb56a80aa2277c2014-03-16T22:35:00+01:002023-02-07T17:30:29+01:00codotusylvInterviewsMr Len <p>A few months ago, as part of our <em>Indie Rap Series</em>, we asked Bigg Jus to share with us his diagnosis about the independent rap wave of the late 90's, a wave where he played a critical part, with Company Flow. Two opinions being better than just one, we also asked another member of this movement's emblematic trio, Mr. Len, to deliver his own version of this key phase of hip-hop's history.</p>
<p><em>The "indie rap series" is a cycle of interviews organized with some key activists of the late 90's / early 2000's independent rap scene in North America or beyond. Some of them are almost famous, some others less known or forgotten artists. These interviews will help documenting a book, written in French and dedicated to the same scene, and published in 2014, in the same collection as </em><a href="http://www.amazon.com/gp/product/2360540513/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=2360540513&linkCode=as2&tag=fafore05-20">Rap, Hip-Hop</a>''. <br /></p>
<p><br /></p>
<p><strong>What is your perception of the indie / underground rap scene which emerged in North America by the end of the 90's, with labels like Fondle'em, Rawkus, Stones Throw, Rhymesayers, or later Def Jux, and so many others?</strong></p>
<p>The labels named were the best of the best. It was a fun but still somewhat hectic time. Back then was the height of Underground vs Mainstream. Yet everyone was scrambling for the same audience. The indies, like always, put a lot more emphasis on the music and growing a community of fans. It was a great creative time.</p>
<p><strong>In fact, several scenes were part of this, one in New-York around Fondle'em and Rawkus, the West Coast Underground with the Living Legends or the Project Blowed guys, 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>Totally different; Fondle 'Em and Rawkus were totally different. Bobbito wasn't going for airplay with the releases nor did he do a ton of promo. Rawkus had dreams for being a newer version of Tommy Boy or Def Jam. They had street teams and publicist. Bobbito had his radio show with a loyal following. Out West the labels that stuck out were ABB, Stones Throw and maybe Correct. Rhymesayers was definitely known but we heard Atmosphere before there was any mention of that label. That group deserves a lot of props for really getting attention for Minneapolis. Everyone had different goals and approaches but the only thing we had in common was that we knew what we were doing was too much for a major label to handle.</p>
<p><strong>According to you, what is the story behind this movement? What did start it and why did it emerge at this time?</strong></p>
<p>It started from people wanting to hear album cuts and songs that weren't necessarily dance tunes. Artists didn't want a label dictating what should be made, and when projects should be released. It started at this time because of college and community radio taking on more hip-hop shows. Some college DJ's had to bring their own equipment to their shows because the stations aren't equipped for how a hip-hop DJ spins.</p>
<p><strong>Where would you put the limits of this movement, in time, place, or styles?</strong></p>
<p>The only limit was money. The Internet was new and we had access to the world. Obviously there was enough talent back then... the only limitation was money. Videos were not up to par with what was being played, advertising in the magazines was close to impossible, and depending on when shows were people couldn't justify taking a day off of work to either come out to the show or perform with their crew.</p>
<p><strong>According to me, one of the forces driving this movement was some people's refusal to see DJs progressively marginalized in hip-hop. As a DJ yourself, would you agree with this?</strong></p>
<p>Yes and no... The role of the DJ diminished when rappers doing new songs rocked off their DATs and DAT machines. There was and will always be purists that see the DJ as an integral part of the show and scene. But, there were a lot of folks that felt like it was just an extra person to pay. Not every act had its own DJ. Some of it was the DJ's fault though. A lot of cats didn't feel like committing to the scene and the lack of money it generated.</p>
<p><strong>The very meaning of "indie rap" changed over time. It turned from a radical and purist hip-hop movement by the late 90's, to some white rappers' rap for fans of indie rock, in the 00's, with labels such as Anticon. Do you perceive these as the same scene, or two different ones?</strong></p>
<p>I see it as, the scene changed. Am I into it?... eh. They held onto the idea that they will not let anyone control their destiny and art. But all art ain't for everybody.</p>
<p><strong>What is left of this movement today, according to you?</strong></p>
<p>Most of the artists still make music which is awesome. The love of the culture is still there.</p>
<p><strong>What is your personal story with underground rap?</strong></p>
<p>Underground rap to me was just more of a reason to do what I love. I loved music and the genre of rap/hip hop before INDIE and UNDERGROUND were terms. People getting into underground rap made it that much more fun to play records out. I could now play a song off an album that wasn't a single and watch people bug out and bond over how much they all liked it and realize that we all had something in common.</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>I don't really like to be pigeonholed into anything. But I know that I'm a part of this indie/underground movement. It's a part of my life that I'm proud of. I make music for more than profit. I'm friends with some of the greatest lyricists, writers (graf), DJ's, producers, and dancers to walk this planet; all because I'm part of this movement.</p>
<p><strong>What would be your top underground rap artists, albums and singles? Who would you like everybody to remember about?</strong></p>
<p>Company Flow (duh!!), Juggaknots, J-treds, What What, The Arsonists, Lord Sear, MF DOOM, Scienz of Life, InI, The Beat Junkies, Artifacts, Siah and Yeshua Da PoEd, Pumpkinhead, Apani B. Fly, The X-Men, Dilated Peoples, Living Legends, Kurious Jorge, The Beatnuts....</p>
<p><strong>Overall, do you think that such a category, indie rap, was or is relevant?</strong></p>
<p>No. It means that in order to play it you have to know the financial situation of the group. Was the record released independently? Who cares?? Play the music!!!</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>It's a lot harder to get into new music and artists now. I'm older and my taste has changed so what they're talking about now I've either done it or am just not into it. I dig that there are a lot of kids still testing the waters and themselves.</p>
<p><strong>Coming back to you, what are you doing these days? What are your current projects and activities?</strong></p>
<p>I have an instrumental EP out called <em>The Marvels of Yestermorrow</em>. Working on a collaboration with the watch company FLUD. In the studio now with Mela Machinko as well as PH and I DJ for Jean Grae... and from time to time Pharoahe Monch.</p>https://english.fakeforreal.net/index.php/post/2014/MR-LEN-Interview#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2066COMPANY FLOW - Funcrusher Plusurn:md5:b1becafe2e9b251e68434d5dcb39280d2011-03-07T22:42:00+01:002021-02-15T08:39:28+01:00codotusylvAlbums1997Bigg JusCompany FlowEl-PMr LenRawkus Records <p>By 1997, just when some feared that hip-hop was getting corrupted by success, "independent" and "alternative" had become buzz words. And no other claimed them louder than Company Flow. A product of New-York's underground, these self-produced and self-promoted rappers created their own label, Official Recordings, and they targeted the music industry as the enemy. And their slogan, a very definitive "independent as fuck", was everything but ambiguous.</p>
<p><img src="https://english.fakeforreal.net/public/Pochettes/1997/company-flow-funcrusher-plus.jpg" alt="COMPANY FLOW - Funcrusher Plus" style="display:table; margin:0 auto;" title="COMPANY FLOW - Funcrusher Plus" /></p>
<p>Founded by 1993, Company Flow had become the heralds of the nascent underground hip-hop movement in 1996, when they released the abrasive <em>Funcrusher</em>, an EP Bigg Jus, El-P and Mr. Len would enrich and improve one year and a few singles later, with the help of Rawkus Records. Per its title, <em>Funcrusher Plus</em> stripped out hip-hop. There wasn't any fun, funkyness or prettiness left to it. Only a handful of vindictive hymns were more or less catchy, like "Silence", or the sitar-infused "The Fire in Which you Burn", a collaborative track with the Juggaknots.</p>
<p>Everywhere else, <em>Funcrusher Plus</em> was hardcore hip-hop at its very rawest. The rhythm was slow, the samples were unsettling, and experimentalism was there, like with the ethereal and hallucinated "Bad Touch Example", "8 Steps to Perfection" and "Krazy Kings". They excelled even more with their revisited version of "Population Control", a slow and apocalyptic track strengthened by a bizarre water sample, or the atmospheric "Info Kill". <em>Funcrusher Plus</em> also looked like an humourless version of Dr. Octagon science-fiction rap, with the weird divagations of "Help Wanted", or Mr. Len's scratches on "Lencorcism" and "Funcrush Scratch".</p>
<p>Despite the soberness, though, Company Flow knew how to drop bombs. The super-minimalistic, "Collude/Intrude" and "Last Good Sleep" were good examples, with their huge pulse, and their complex raps. And though its formula was sometimes overly austere, like with "Blind", the trio had enough strength to sublimate arid tracks like "Legends", "89.9 Detrimental" and "Vital Nerve". The record was excessively rude, hostile and heavy, and though, it would create a new form of hip-hop. It would become the template for a new generation of rappers, and countless underground scenes, obsessed with integrity and uncompromising creativity.</p>
<p><strong><a href="http://www.amazon.com/gp/product/B000067CLW/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000067CLW&linkCode=as2&tag=fafore05-20" hreflang="en">Buy this record</a></strong></p>
<div class="external-media" style="margin: 1em auto; text-align: center;">
<iframe class="embedly-embed" src="//cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.youtube.com%2Fembed%2Fc7_aWIA3bhA%3Ffeature%3Doembed&display_name=YouTube&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dc7_aWIA3bhA&image=https%3A%2F%2Fi.ytimg.com%2Fvi%2Fc7_aWIA3bhA%2Fhqdefault.jpg&key=886f25cd256a4889978b22784b220a67&type=text%2Fhtml&schema=youtube" width="640" height="480" scrolling="no" title="YouTube embed" frameborder="0" allow="autoplay; fullscreen" allowfullscreen="true"></iframe>
</div>
https://english.fakeforreal.net/index.php/post/2011/COMPANY-FLOW-Funcrusher-Plus#comment-formhttps://english.fakeforreal.net/index.php/feed/atom/comments/2638