Strange Universe West Coast Tour 2014
J-Live, Sadistik, Nemo Achida
147 W Broadway
Missoula, MT, 59802
There has never been an anomaly in hip-hop quite like the southern trio CunninLynguists. Sampling genres from psych-rock to blues, New Romantic to polka, they have been musically compared to UGK and Atmosphere in the same breath.
J-Live is one of the most talented MCs on the planet. Fans familiar with the clever lyricist have grown to love his unique style of wordplay and his originality. At the forefront of New York's independent hip hop scene since the mid 90s, J-Live was one of the first artists to move a substantial amount of units without airplay or a major label push. J-Live relied strongly on grassroots promotions and old fashioned hard work. For years J-Live has remained an independent music icon taking his time to release quality albums. This year, joining forces with Penalty Recordings and Rykodisc J-Live prepares to drop what may be his most sophisticated, conceptual and complete album so far, The Hear After.
J-Live was born and raised in Uptown Manhattan. After making a home for himself in Brooklyn upon graduating from SUNY at Albany, J recently relocated to Philadelphia in 2003. "Moving to Philly was more for the family than any kind of career move. But the whole music scene here and the hip hop community here have embraced me with open arms since I arrived. I've gotten a lot of support from so many different artists and dee jays. This city is jam packed with talented and beautiful people."
Recorded mostly at J's own Triple Threat Studios in Philadelphia, The Hear After actually seems to have taken on a life of it's own. Guest vocalist on the album, include up and coming artist, Kola Rock, Cvees, and the soulful sounds of Virgin recording artist, Dwele. The album features production by Floyd the Locsmif (Atl), Hezekiah, James Poysner (Philly), Probe DMS, Fire Dept., (NYC), Oddisee (DC), and J-Live himself. "The title is a play on words. People think of the here after as the after life or somewhere you go when you die. Like heaven or hell. Me personally, I see heaven as being at peace with yourself while you're alive. I see hell as the path you choose in life as opposed to a place you go after death. The album is called The Hear After because I'm at peace with myself musically, and I've been through hell to get that way. This is what you "hear after" all that has transpired so far. This is what I've been working to accomplish since the last album."
Like J's last two full length records, The Best Part and All of the Above, The Hear After covers a wide range of thoughts and emotions both musically and with its subject matter. "If you were to look at the whole thing, you would see a story line about an artist trying to maintain and expand his career and still be there for his family. That was the biggest struggle while making the record, and its no coincidence that it's a theme that becomes obvious listening to it. But there are songs about almost every aspect of my life from growing up in the city, to raising kids, touring heavy, building and teaching, politics, party and bullshit. I can't just spit about one thing for a whole record. That's not my style."
J-Live has been rhyming and mixing since the age of 12 but he has made much more of a name for himself as an MC than as a DJ. "I definitely focus on rhyming more. Growing up doing both it was easier on the pockets to be an MC. Records and equipment can get expensive. But I love spinning." One of the highlights of his entertaining live show is when he rhymes and beat juggles on the turntables simultaneously, performing his classic, "Bragging Writes." A triple threat, J-Live also produces. He combines some of the tastiest samples with emotion moving raw beats and occasional live musicians to construct the most original tracks and heart stopping beats.
For example, on the captivating intro song "Here" J enlists the services of the world renowned Jazz group Soulive, to remake Love Unlimited Orchestra's rendition of "Theme from King Kong". Riding the beat so perfectly, it almost sounds as if his voice is another instrument. It grabs the listener by the shoulders and demands that you sit up and pay attention to the complex, word play. Of course there are party cuts, "Shake", "Aww Yeah", and "Harder" destined to be dance floor anthems and show favorites. "Weather the Storm" another amazing cut, delivers, stunning, astute, political commentary against the backdrop of a menacing, beat with eerie overtones.
J-Live has always used music to get his messages across. He explains, "I grew up listening to everything from BDP to NWA, to PE, Slick Rick, Big Daddy Kane, Nice and Smooth. Whether the music was pimped out, gangsta, militant or whatever, rappers had something important to say to kids like me. And I listened intently. As a 5%er, I can't imagine how much of an influence hip hop had on the way I see the world."
Case in point, J's favorite song on the album, "Audio Visual" is so descriptive it's a song "in 3-D". From the quirky, key accents to the thick-ass bottom running throughout the song, J-Live paints a colorful, picture of his life on and off the mic. "Brooklyn Public" is his ode to his days as an educator. Earlier in his career, J-Live taught middle school English/ Language Arts in Brooklyn for a few years.
Making music for the walkmans as well as the Jeeps, J-Live made a mature, sonically sophisticated album. "I feel like I represent hip hop's middle class. Seems like everybody's either crying broke or screaming rich or both. I try to speak to the people in between. The everyday hard working fun loving hip hop heads."
This is going to be one of the best albums of the year, for J-Live, for hip hop, for music period. Whether you're new to J's music or hip hop's independent scene, or a long time dedicated fan, there are beats and rhymes, stories and vibes, to enjoy from now till The Hear After.
Sadistik is not just another rapper, he is an artist in the deepest sense of the word. Hailing all the way from the scenic gloom of Seattle, Washington, Sadistik has quickly gained the hearts and ears of listeners by opting for a more personal and heartfelt brand of music by carefully circumventing the limiting cliches of rap music --- all before the age of 25. By combining caustic honesty, lyrical wit and technical innovation, Sadistik has crafted a sound that he can truly call his own. His lyrical endeavors are not without the help of some of the most talented producers in the underground scene, however, as he has worked predominantly with Portland-based instrumentalist Emancipator. In addition to their work together, Sadistik has meshed his sounds with the likes of the prolific duo Blue Sky Black Death as well as Chicago native Kid Called Computer. From his work with such talented multi-instrumentalist producers, Sadistik has created a signature of unpredictable and complex song structures draped with densely layered combinations of intricate sample work and live instruments. Sadistik's collaborations are not limited only to the powerhouses of the instrumental scene, however, but also some of underground rap's most revered wordsmiths such as Eyedea, Cage, Mac Lethal and Sage Francis, to name a few.
In 2008 Sadistik made his name with the provocatively fearless debut album "The Balancing Act." This record has been heralded by many critics as "hip hop's answer for winter albums" (SputnikMusic.com) for its fearlessly emotional potency because "after you are done listening to [it] you feel as though you have the world's strongest drug in your veins." When this sound was combined with the collaborations with Rhymesayers recording artist Mac Lethal and Vast Aire from Cannibal Ox fame, it becomes clear why so many have considered this to be an underground classic. Following the release of "The Balancing Act" was the release of the music video for the single titled "Searching for Some Beautiful" which was accepted by MTVu and well-received by fans and new listeners alike.
Following the success of "The Balancing Act" was 2010's operatic opus "The Art of Dying" with Chicago-bred producer Kid Called Computer. Again displaying his relentless knack to stray from rap music's norms, Sadistik and Kid Called Computer opted to create a conceptually unique album more akin to progressive rock than what is accepted as hip-hop with "beautifully married gloomy progressions with [...] gorgeous chaos in the music" (RapReviews.com). Whether it be the grandiose live rock crescendo of "Save Yourself" or the nearly 8 minute epic tale of school violence in "Bed of Flowers," Sadistik showed that he was not aiming to meet expectations but to shatter them into as many pieces as possible with a sound that "goes inside of you and eats it's way out from the inside [...] by being beautiful and painful at the same time" (GutsandGrog.com).
Sadistik's efforts are not limited to recordings, however, as he can be found performing his intimate yet intensely energetic shows around his home of Seattle and around various cities in the United States as well as internationally. In 2011 alone, Sadistik has independently toured in nearly every region of The United States as well as nine countries in Europe including: Germany, Switzerland, Denmark, France, and Austria. Sadistik has also shared the stage with hip hop icons such as: Tech N9ne, Slaughterhouse, Bone Thugs N Harmony, D12, Cage, Eyedea & Abilities, The Grouch, Zion I, etc.
Currently, Sadistik is as busy as ever juggling multiple projects that are slated to be released within the next yea, including a full album with Emancipator, a solo album, an EP with Minnesota's Kristoff Krane and penning his first poetry book.
Static, stagnant and suffocatingly repetitive is the breeze that flows throughout the music world. Here to free us from that commercialized smog is Nemo Achida, a Lexington, Kentucky based, 24 year old, MC and Producer. In the last four years, Nemo has released 12 stellar projects (Elevator Music, Vibrations, North Star, Climax Shxt, Digital Dan, Goodbye Brooklyn EP, Goodbye Brooklyn Extended LP, Nemotional, Conversations with Myself, Climax Shxt II, Midnight Magic and most recently Midnight Magic Extended), had his song 'Memories' selected by Talib Kweli for his ‘BlackSmith Community Mixtape’ hosted by Mick Boogie and toured cross country alongside independent stalwart Blu where they performed for sold out crowds in Brooklyn, Atlanta, Seattle, Fresno and Los Angeles
Nemo Achida's work ethic and progressive sound landed him on Grammy Award winning producer 88-Keys' (Jay-Z, Kanye West, Talib Kweli, Mos Def, Bilal) Locksmith Music imprint and with manager Mic Sean. It was following his signing that Nemo Achida released his critically acclaimed ‘Goodbye Brooklyn EP’ and was then name checked by celebrated author Jack McCallum in his New York Times bestseller ‘Dream Team’ as an example of the 1992 Dream Team’s continued relevancy in the 21st century. McCallum wrote, "Consider this: The name of (John) Stockton, a buttoned-down point guard, is on a track by rapper Nemo Achida." An excerpt of ‘Dream Team’, including the portion mentioning Nemo was featured in the July 2012 issue of Sports Illustrated.
With each new release, Nemo Achida continues to increase his online footprint with a constant presence on high traffic sites like Complex.com, 2DopeBoyz.com, OnSmash.com, KevinNottingham.com, RubyHornet.com, XXLMag.com, TheSource.com, MassAppeal.com and more. 88-Keys and Nemo Achida are now set to debut their collaborative Ep 'Conversation with 88', featuring the recently released, BJ The Chicago Kid assisted single ‘Hands On’ alongside other originals and remixes all produced by 88-Keys himself.
Follow Nemo Achida at www.twitter.com/NemoAchida, www.facebook.com/BruhNemo for more information. For booking contact email@example.com.