EXCLUSIVE INTERVIEW: A Chat With Grammy Award Winning Producer Brian Soko.

By Byaruhanga Felix (@TheNinjaFelix)

When it comes to movies/the silver screen, youths on the continent have people like Lupita Nyong'O, Trevor Noah and in sports there's people like Stephen Kiprotich the Olympic golden medal winner but when it comes to music (hip-hop/RnB) there's people like Brian Soko, these are people whose success stories will make you to continue holding on to your dream till you've an Oscar or Grammy like Brian Soko sitting somewhere in your crib.Brian is a 24 year old from Zimbabwe whom after 8 years of production and almost  after making 1500+ beats, his hustle has started making sense like the way he puts though to some of us with his Grammy he seems to have gotten it all.

In case you're hearing/reading the name "Brian Soko" for the first time, thank me later after reading the interview below. Brian & his team (The Order) are responsible for some dopest music that you might be vibing to on your playlist like Beyoncé's Drunk in love, Lil  Wayne's No Worries, 100 Favours , Rich Gang's Tap Out, Tyga‘s Show You and back here on the continent production on Caspper Nyovets' Phumakin, K.O's mission statement, Dj Vigilante's Sgelekeqe and Chad da Don's EFT are all credited to Brian Soko.
I managed to chop it up with the Tampa, Florida based producer and we discussed a couple of topics like the challenges in the music business, how he stays motivated (hungry) even after achieving all those awards, how his company   "Anashe Media Group" handles music business on the continent among other things as you can read below.

Thanks a lot for doing this. First who is Brian Soko before the music and how did you start out in the music business?

My name is Brian Soko, I am a Grammy award winning music producer from Zimbabwe. I got into music by rapping at a young age and one day I experimented with making beat and never looked back from that.

Is there any point in your music journey where you felt giving up or switching careers because we all know this business is tricky and sometimes it's hard to earn a living off it?

At no point in my career have I even entertained the thought of quitting, i have invested too much time and hard work into my music to switch to any other career. Even if I had to do something else for money I would still be making music, I did not get paid for the first five years of my career so that's nothing new to me.

There are a lot of challenges in the in the music business and as you shift from one level to the other there's a lot of change in the process. How do you deal with all these challenges and the change?

My team, The Order and my family help me to deal with the various difficulties that come with industry. Mostly when things aren't going my way I try to focus on the music and I believe your are always one hit away from the top of the world.

There's a lot of awards to your name and the entire team (It's the Order) you work with, are you at a level you want to be? Are you still hungry like the day you started out on your music journey?

The Order definitely is still hungry, we keep each other motivated and on our toes all the time. We want to be the best and to have longevity in this industry.

Do you have any special techniques that make a "Brian Soko" beat different from others? Briefly how is a Brian Soko studio session?

I like to think my studio sessions are fun and energetic. I don't think I am  the right person to answer what makes my music different. I think maybe an artist would answer that better but generally my music focuses on the energy more than the emotion.

You've ventured into management with your company "ANASHE Media Group" while you are a part of "The Order". Tell us briefly about these two ventures and how they all fall in line to contribute to your growth?

‘The Order Music’ is my company with my partners Rasool and Dre, we are all producers and focus on the US music market, we’ve been together since 2009, have over 10million albums sold and of course we won a 3 Grammys together for our work with Beyonce. We just opened our own studio in North Hollywood and this represents a new chapter in expanding our brand in the US and making more hit records with the biggest artists in the world.

Anashe Media Group is a company I started in 2013 to capture opportunities in the African music markets. Anashe focuses on management and marketing of primarily producers and allows me to work with artists from across Africa, so far we do work in South Africa, Nigeria, Zimbabwe (where I am from) and hopefully soon Kenya and Angola. Anashe allows me to introduce talented producers to the US music industry.

You've experienced both the African music market and the west (United states) which offer different opportunities. Are there any differences that you fill need to be exploited or gaps that need to be filled in both markets?

In the U.S. I try to add an African element to my music as its very different from them and is considered "Exotic", when I work in Africa I try to take my experience from the States and incorporate some of the structure and methods in making music.  I try to get the songs I do in Africa mixed and mastered in the states and also incorporate some of the marketing schemes I see major labels using in America. In Africa I think we need to improve how we track and pay music royalties to our artists and producers.

What's next for you and your team in relation to taking over the African continent? Are you crossing over to the East & Western part of Africa anytime soon?

I have just released a single in South Africa called "EFT" with my friend Chad. The video recently dropped on Channel O, MTV Base & Trace TV. I have other songs featuring myself coming out this year in that market. I have been working towards crossing over into the East and West African music market soon and I'm sure you will be hearing music from me in that market in early 2016. "If you want to check out "EFT" check out www.IJustGotAnEFT.com"

Any last words for an upcoming producer or rapper reading this interview who also wants to have a Grammy on his/her trophy cabinet?

Work hard, find some like minded people and team up so you can keep each other improving. Also focus on the music and progress and not on the money, the money will come eventually if you work hard and put your music first.

Connect with Brian Soko;
Twitter: @beatsbySoko
Instagram: @Beatsbysoko

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix

Email: theninjafelix@gmail.com

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INTERVIEW: A CHAT WITH DJ CIZA.

By Byaruhanga Felix (@TheNinjaFelix)
You might know him from Radio City, Iguana,Sky Lounge or may be from your timeline you've seen  mention "DJ Ciza". If not, don't worry I got you covered. DJ Ciza is a resident deejay at Radio City FM among other things but ahead of his #CizaBBQHouseParty at Terracota, I had a chat with him about deejaying in a music market like Uganda's, one calling himself a hip-hop deejay and he also shared his thoughts on whether UG corporate companies are willing to spend "bullions" of shillings on Ugandan deejays like the way we've seen Ciroc do in South Africa among other things. 

QN: Who is DJ Ciza away from the decks & at what point did you decide to take on deejaying professionally?

Unfortunately I wouldn’t find the fewest words to sum it up, but am hoping the reader has a description for me after this interview! Let me try J 

Dj Ciza (Born Mwalye Seth) will still wake up to cue a couple of tracks before the day starts, still love me my music (of course,) I love me good Tech, shows and business in many forms – call it making money. I wouldn’t say I initially took deejaying serious up until it had the full liberty (when I joined University) to pursue it with the promise to my folks that I’d finish my degree. Haha! Five pro years down the road, it’s been lots of good times!

QN: What do you usually start with when preparing for a set?

What makes you decide to play a particular song during one of your sets? Is there a criteria other than pure subjectivity, for selecting what to play at a gig? 

Starting out a set, I gotta make sure that first song gets your attention, could be a highly relatable classic, a vocal intro or hell that official Dj Ciza intro. There onwards depending on what set of the night am playing (starter, a hip set or an outro set) every song in there will be there for a reason. I will have listened (I sing along to, at the least 8 bars of every track that makes it to my set, its a lot I know), cued up and track-labeled that JAM. This also varies between a radio gig, bar or concert performance. 

QN: Thanks to developments in the software world, DJing has moved closer together than ever before, allowing DJs to change a track easily. How do you make use of these possibilities in your sets and is there a benefit?

The biggest tech benefit for me is how long it takes to prepare a set, besides hitting you from any angle! The older Djs had to carry actual vinyl crates, remember CD bags? All this has been eased up into one digital library, easily accessible by far – more so, what excuse would one have for not prepping?

QN: The relationship with the audience is crucial for a DJ, and yet it seems to be a fragile one. How do you see the balance between giving the crowd what they want and treating them to something new?

I for one envision my every set in its entirety as a package or a story before I deliver; it wouldn’t be wise to dumps lots of fresh beats in one go. It wouldn’t be wise either to keep a static set. I look for new music to lace my sets with every 3 nights a week. My goal is to make sure you here something new within that three hours set every week, a 20 minutes radio set begs to differ though – In Ciza’s world, 20 minutes can all be fresh and lit!

QN: We've seen DJs that just press play on their laptop and in the process they have given technology a bad name. What's your perspective on the relationship and the balance between technological advances, music and the art of DJing? How have particular technologies changed your style of DJing? 

Lets take an example; two gardeners go to the garden to work. One shows with just her hoe. The other shows with a hoe, a rake and probably a spade. The hoe is a necessity – the laptop, the rake and spade are extra tools – a mixer and a pair of decks, turntables or a proper sized controller (my colleague Aludah still calls them toys) Who’s performance would you look forward to? Start off with a laptop (I Did) because well, this Uganda of ours but let’s see progress to that first mixer, controller or just that one deck because the gardener whose style stands out is the one with a rake and a spade. Hardware has a huge role to play in what kind of DJ one is.

QN: Coming up as a DJ in this industry, one of the most difficult things is being relevant and getting people to vibe to your mixes, because anyone can make a mix & upload on sound cloud. How have you managed to get people's attention & remained relevant from the moment you started until today?

Consistency is key, two aspects not left out – The Library (Collection) and Skills (Scratching, Juggling or Drops) among others. Am blessed to host 2 weekly shows on Radiocity 97FM (Where The Fun Is), am also on rotation with a fresh package every other week at Iguana & Sky Lounge (both in Kisementi) as well as Legends Kampala. Now, I believe an actual DJ’s work isn’t on the nights he plays, it’s the other days he’s off the decks listening, prepping, cueing, sorting and forth.

DJ Mixes are extremely helpful as the entire world can find your collection at one point – the mix has got to be good to sell/market itself, like a record – that said, check out my mixes at www.soundcloud.com/thedjciza. I live to Deejay another day.

QN: As a Deejay who is in the industry do you think one labeling him/herself labeling themselves as a "Hip-Hop DJ" would limit their reach especially in a music market like Uganda's?!
I believe it would but I also believe the potential for growth is extreme for example we have the biggest number of 15 Year olds in the world, that’s quite a market! On the other hand, if one brands them a Hip-Hop Dj, then they execute to their best, perfect example is SNMS’s Mister Deejay – Stand Out At It. You’ll also possibly find music from every imaginable genre in my database, am of the view its advantageous to cover a good demographic well.

QN: We've seen Deejays develop their brands, headline events like yours that's happening on 21.Nov, do you think the Ugandan corporates/companies will crossover & use their brands for example in S.A where DJ Dimplez is a Ciroc ambassador, do you see such endorsements for DJs in UG anytime soon?
With corporate cross overs, there’s evidence this has started happening, look DJ headlined events at the beach every weekend, the just concluded Kings Of Turntables, The Mixtape Party and Radiocity’s powered upcoming #CizaBBQHouseParty, the 21^st. Nov at Terracotta. Trust me, the fraternity of UG DJs is also putting in work to make sure Ambassador Endorsements follow through.

QN: As Deejay means you get to work/interact with different artists & as we know sometimes it can be hard due to their big egos. How do you deal with such & any other challenges in the industry?

Yes, we do! The Djs work is to find the good music and give it to the people, as an artist, make good music and we will find that single. They, whoever need to build email databases, avoid handing us flash drives while we are on set, label their tracks – at least artist & title fields plus finally:
Dear Artists: Whatsapp compromises audio quality and Dj Ciza will not move unlabeled track “WA0000201514320” into his library, thank you.

QN: Please recommend two DJs to our readers, whom you feel deserve their attention.

Two lads: ThaDropOut & Dj SlaughterElly

Connect with DJ Ciza
Facebook: DJ Ciza
Twitter:  @DJCiza
Soundcloud: www.soundcloud.com/thedjciza

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix
Email: theninjafelix@gmail.com

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NEXT LEVEL USA: A Chat With MADlines About Ugandan Hip-Hop. [Interview]

By Byaruhanga Felix (@TheNinjaFelix)

The past week Uganda hosted a team of hip-hop acts from the U.S who were running different workshops focusing on different hip-hop elements. The workshops were came to an end with a concert at theater were La Bonita where people who attended the workshop showcased & performed what the workshop was all about.

Amidst the preparation of the concert I managed to have a quick Chat with MADlines who was handling the emceeing workshops throughout the program. We talked about the program "Next Level', entrepreneurship with hip-hop and her thoughts about Ugandan hip-hop among other things as you can read below.

QN: Thanks for doing this with me on short notice & amidst the organization of your concert. First let’s start from what’s Next Level is all about & how it came about?

Sure, so next level is a project of the U.S department of state and the University of North Carolina Chapel Hill. They wanted to use hip-hop as a tool for cultural diplomacy, so what they do is that they bring four different artists from United States that specialize in hip-hop elements, emceeing, deejaying, break-dancing, rapping and beat Making. They send them all over the world to teach free classes in the community to the kids that want them the most.

So, the whole idea isn’t to teach them hip-hop but is to learn about the communities about there and to build with the young people in the country so that we can help promote peace and understanding different goals that they have for that country. For example here two of the goals that we had were entrepreneurship and women’s empowerment.

QN: Is it the first time in Africa and are there any other countries taking part in this particular project?

So, this is the second year of Next Level program. Next Level sends different artists to different countries so this is the only country that our team will be in which is really a unique team; shout outs to our team. But Next Level this year is going to Thailand, Tanzania, El Salvador, Honduras. Last year they went to India, Senegal & Serbia. Each country is a different team but they will do the same hip-hop elements.

QN: Earlier you talked about entrepreneurship when you put that in line with hip-hop  means you have to use one of the elements of hip-hop to make money. How did you approach it so that the young people who were in attendance could use it to develop their communities?

Yeah, so we looked at how can you make money off art. You know hip-hop is all about hustling and it seems like there’s no way to make money but there are very many ways & it’s not just about one person making money it’s about everybody contributing to it, everything from fashion to starting your own label because a lot of people think it’s still about getting signed by a major record label but nowadays a lot of hip-hop artists are doing their independent thing because record labels it’s not a guarantee that you’re going to make a lot of money and they own everything you do. So, one thing we talked about was to work independently & to work together as a movement.

QN: In terms of making money off the art are there  any measures that you guys use in the U.S that are relevant or can they be applied to the Ugandan market in any way basing on the interactions you’ve had during the course of tackling entrepreneurship & hip-hop here?

I think every market is different.  In Uganda there’s more of a higher rate of unemployment I know that and so that’s a challenge Uganda faces but I would say hip-hop in general has similar challenges for people involved. 

But it’s easier with strength in numbers and I noticed as an emcee that people think it’s all about one emcee and when they make it that’s all that matters they buy a mansion or a car. Hip-hop in the U.S is going back to having crews so one person does marketing, one person does merchandise, another person makes beats or DJs that keeps everything running so that you can become your own business.

QN: Like you said that the struggles of hip-hop are similar whether it’s in the U.S or here but are there certain things that you’ve picked here that are different from the U.S?

Yeah, I would say the difference in Uganda is that there are so many languages spoken. So I noticed with my emcees they speak a lot of different languages so they don’t always know which one to rap in or sometimes they would rap in Luganda.

So I noticed there’s a division between who raps in English and who raps in luganda. But I think that’s kinda silly because whether you rap in luganda or English you can still be saying good or bad things. So even if you rap in English you can still say good things, also I think it’s good to be multilingual so I suggest emcees should try & learn as many languages as possible and try to communicate in all the languages.

Also I think in Uganda the hip-hop movement is facing the break-dancers more and that’s really unique cause in the U.S emcees get all the light, all the shine but here it’s like the break-dancers are very talented and so are the emcees but Uganda seems to be known for break-dancing specifically.

QN: Generally speaking what’s your overview about the Ugandan hip-hop scene for the short time you’ve been here working on this project? What are some of the good things that you’ve seen about the genre & what’s lacking or what can be improved?

First of all I felt like it was already a very established scene, like people are knowledgeable about the history of hip-hop and I was very happy that we didn’t have to talk about the fundamentals we jumped right in and we talked about pretty much complex stuff like college level.

I also noticed that’s there’s a very high level of skill, the DJ & the beat makers’ workshops were very smaller. I don’t know if that’s an indication that there are not as many DJs and beat makers. One thing that could be better is if more people did beat making as well because I think you can establish a very unique Uganda sound that everybody can figure out and realize across the world. But if everyone is rapping & dancing you’re not going to have that. So you definitely need more DJs & beat makers working together with rappers here so that they can establish a sound unique to Uganda. So, you need to use traditional sound but then make it hip-hop at the same time.

Connect With MADlines;

Twitter: @MAD_lines

Facebook: MADlines Music

Website: www.madlines.info/
Soundcloud:https://soundcloud.com/madlines

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix
Email: theninjafelix@gmail.com

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The Difference Between UG Hip-Hop back then at DV 8 & Now -Lyrical G [Interview]

By Byaruhanga Felix (@TheNinjaFelix)

On Thursday (14th May) Lyrical G will be holding an event at Mask Lounge Bukoto dubbed "Lyrical G & Friends: A Feel Good Music Experience" (entrance UGX 10,000) so I decided to catch up with him to talk about a lot of things in relation to Ugandan Hip-Hop, it's growth and how it was back then rapping at DV 8 before major hip-hop concerts started.


QN: What's good boss?! It's good to have you here at The Tribe UG. Let's get into it. You've 8 albums to your name what keeps you going  in studio & the energy to release a new album every year?!

Hard work and dedication to what I do keeps me going..I'm a big fan of music and love creating new stuff that's why I try hard to drop an album every year. More-so every album is a step forward in my  growth as an artiste...

QN: Can you walk us through your first two albums? There creation & how the Lyrical G then used to create music from the time he thinks of a concept until it's executed.

1st 2 albums were a learning experience..as is often the case,a debut album will determine if an artiste has what it takes to stake their claim..I was blessed to work with the best in the game(Steve Jean)..hence my Live From East Africa album did exceptionally well both locally and all over the East-African region.
2nd album allowed me to stretch my creativity even further in that I was able to work with other producers and also flex my production a little deeper..it also allowed me to have control over who and what I recorded.

QN: In the due process of recording all these albums how have you evolved & embraced the changes that have come with the industry while staying true to your art?!

I have grown and evolved into a better artiste..I have been around for a minute and have seen the industry grow and change..you have to embrace change and move with the times..my 8 albums are proof of that.I never compromised my style to satisfy anyone..rather I kept it real from the jump.that's why I've managed to stay relevant for this long.

QN: What's the difference back when you started out rapping then at DV8 & now where rappers can hold concerts?! Apart from social media of course?!

Difference between DV8 and the present situation is we were able to showcase to many people seeing as we performed with artistes from other genres of music..nowadays you have rappers performing to hiphop/rap fans alone...social media has played a big role too cause now all you have to do is record and create a buzz for your works and put that work out when you feel like it..back then it was almost calculative since you had to compete with many other genres.

QN: As a rapper who has been in the industry for a while & as one of the people who laid a foundation for the UG hip-hop industry what are your thoughts on the current hip-hop landscape in relation to the Ugandan music consumption?!

The current hip hop scene is really buzzing..a lot of new names and faces some of whom I really feel..just goes to show that if you work hard you will get somewhere..keep working..and pushing.

Connect with Lyrical G
Facebook: Lyrical G
Twitter:  @GmcLyrical
Reverbnation: http://www.reverbnation.com/lyricalg

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix
Email: theninjafelix@gmail.com

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The-Mith Discusses SMASH & UG Hip-Hop. [Interview]

By Byaruhanga Felix (@TheNinjaFelix)

Earlier this month SMASH premiered on Urban TV with The-Mith as it's new host and Dj Crim as it's on air DJ. The show was re-branded with major focus being on African content (hip-hop) and making more lively, which gave UG's hip-hop a much bigger platform. The show runs on Saturdays 8:30 PM and re-runs on Thursday 11:30 AM. So I decided to catch-up with The-Mith to discuss a number of things about the show and what it means for Uganda's hip-hop as a whole.

QN: First Things First how's the Destination: Africa Release aftermath treating you?! BTW Some Money?!
Hahaha, we'll talk about the money later on..... But the aftermath has been Great. I'm happy people liked the music. We put a lot of work in that project, and to see people connect with the songs, has been such a dope thing.

QN: Congratulations On Presenting Smash?! How's this show going to be different from the previous smash or any other Saturday musical show airing on TV?!

We took what Kyle had done, and made it bigger. We got a set location, got in Dj Crim and just made it bigger. And because it's 100% Hip-hop, It's totally different from other shows.

QN: Why didn't You & the whole team at the station make it 100% Ugandan Hip-hop?! 'cause that way the genre gets more exposure?!

Well, the show is 80% Ugandan HipHop. That is more than what most shows are doing. We'll eventually get to 100%, but for now, that 80% is pretty good.

QN: Real Quick walk us through a typical planning session for an episode of smash. what do you consider when coming up with the top 5 videos & the artist you host?!

We look at the songs that are making noise across the continent. We check out top radio countdowns and check which songs are trending and all. There's a lot of music that's out there, a lot of HipHop. But the whole team works at getting it right.

QN: Now you're doing TV, pushing singles off destination: Africa, pushing TMMG & in the process of recording a klear-kut album. Does it ever get hectic at any point for you doing all this?!

Not at all. The music I am working on, can only be helped by all the music I am listening to cause of the show. It's a great learning experience.

QN: Now That there's a UG Hip-Hop show on TV & some radio programs dedicated to UG hip-hop, what do you think are some of the loopholes that need to be filled in order for the genre far ahead of others?!

This show is a platform that I hope, all artists will jump on. We have to kill that old mentality, where we keep music to our circles. This is a moment where everyone can come through and push their music. That is the most important step. Get the music out there, the rest will fall in place after that

Connect With The-Mith

Facebook: TheMithMusic

Twitter: @TheMithMusic

Instagram: @TheMithMusic

YouTube: TheMithVideos

Contact Writer;

Facebook: Byaruhanga Felix

Twitter: @TheNinjaFelix

Email: theninjafelix@gmail.com

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St. Nelly-Sade's Stories Of Elevation [Interview]

By Byaruhanga Felix (@TheNinjaFelix)
Vote The Tribe UG in the ongoing 2015 Social Media Awards as the best entertainment site by following the link www.socialmediaawards.ug/vote/

This Thursday (26th/02/2015) the luga-flow Army rapper St. Nelly-Sade who is also the current president of End Of The weak Uganda will be releasing his second studio album "Stories Of Elevation: Omulondo N'Engero" at the Mask Lounge Bukoto. (entrance 10k). The album will cost UGX 15,000 and it will be the first hip-hop album to be released this year out of the many anticipated albums coming out this year. The album release will be accompanied with an MC challengeas one of the projects End of the weak intends to run this year.  I managed to have a discussion with Nellysade about the creation of album, the UG hip-hop industry in relation with rappers establishing themselves as brands and the possible reunion of the luga-flow army.

QN: Thanks for having the interview with us today. First things first, let's discuss the name of the album any deeper significance to the title of your album, “Stories Of Elevation: Omulondo N'Engero”?

Omulondo is what you can eat and add something on you. You can't eat ''Omulondo'' and stay the same. You either get man power or grow big some parts of your body. I've been using this word since last year because it simply reflects the current state of my Lyricism these days, I keep on growing big each day. Engero, these are stories you will find on my album. So, Omulondo n'engero are stories that you will listen to and elevates you. You won't stay the same. Most of them are true day life stories.

QN: What's the inspiration behind this album & how has its creative process been like?!

The inspiration behind this album was the desire to make the world a better place. There is a lot of things happening in our communities but we go on ignoring them. Most of these stories are things that happen in our villages, our cities, in the parliament, everywhere. So i got more inspiration from the environment and what i always see from where i come from.

QN: How is this album different from your previous offering "The Translation"? What do you expect to achieve with this album that you didn't with your previous album?

What makes this album different from The debut album ''The Translation (Okutaputa)'' is the growth and maturity in me. From delivery, lyricism and the art of storytelling is different from the last album. Also, this album will be a statement of this generation's creativity and passion for self expression.

  QN: When working on this album did you have pressure to put out work that's more dope than your first album "The Translation"?! 

No, the fact that I take time to perfect my craft, I did not have pressure to put out work that's more dope than the first album. That's like competing with myself. Haha!! This time I opened my mind to what lies beyond the surface to embrace new ideas, new realms and perspectives. Everything has been moving into the direction I wanted them to be.

QN: As you say that the album is about story telling was it important to you that you feature artists that relate to the stories on the songs?! Which Features should we expect on the album?! 

Yes the album is about storytelling. It has inspirational, entertaining and educative stories. So I was choosing artists depending on what they can do best. Expect the best from The-Mith, Ruyonga, Mulekwa, Agee, Patrobas, Herninjanes, Sonny, Shena Skies, Poetic Ambiance(USA) and Moth.

QN: What are your thoughts on the current hip-hop scene, with emphasis on rappers building themselves as brands? Do you think the UG hip-hop industry can be lucrative?!

I like the fact that rappers these days understand that HipHop is not the biggest genre in Uganda. It's their role to make a change now. But it also makes me sad when new comers try build themselves as brands with intentions of getting quick money and end up switching to Kidandali that HipHop doest pay. It's like living your life according to a book written several millenia ago but you call a 5 year old laptop ''outdated''.

QN: Lastly should we expect a luga-flow army joint project sometime to come?! 

Yeah, just like Wu, expect a Luga flow Army reunion sometime to come. Peace and love

Vote The Tribe UG in the ongoing 2015 Social Media Awards as the best entertainment site by following the link www.socialmediaawards.ug/vote/

Connect With St. Nelly-Sade
Twitter: @St_Nellysade
Facebook: St. Nelly-Sade
Reverbnation: reverbnation.com/nellysade

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix
Email: theninjafelix@gmail.com

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The Josh SB Sessions [Interview]

By Byaruhanga Felix (@TheNinjaFelix)
Vote for The Tribe UG As The Best Entertainment Site In The Ongoing 2015 Social Media Here (www.socialmediaawards.ug/vote/)

One of the brains behind Crown Ace, Josh SB is putting out an EP named the “The SB Sessions” which features different artists. Music on the EP is being released at every last day of the month and we saw him releasing “GOD DNA” which featured Sonny (download here) at the end of January. I caught up with him to discuss his musical production journey and the entire EP.

QN: Who is person behind the name Josh SB and when did you start production?

Josh SB is  first a songwriter that’s just something I have been doing since I was a kid, I’m a session musician and I’m a producer. Generally I have love for creative art. I’m into film cause that’s what I do for a living film & photography. I’m into creative art generally organizing events and all that. So I’m someone who is passionate about artistry.

I started production (professionally) when I was sixteen. I did my first song with the help of Allan Wasswa, Richy’s producer. It was a song called “Get Your Groove On” by a south-African based artist called Danielle. That was my first attempt & it was successful of course Allan helped to panel beat so that it fits to the standard of the other songs. Then my next project was with a gospel singer called Mac Elvis (R.I.P) he also gave me a platform then after that’s when I met CODE.

QN: You started with church and you had a gospel background how did you take a turn to hip-hop and how was your first interaction with CODE before “shut it down” the monster hit came into picture?

I have always had love for hip-hop. Yeah, I met CODE then he wants to be an artist, I told him  I’m a beat maker blah blah. I Sent him the first beat he didn't like it at that time he was a “sweller”. The first beat didn't work out I don’t know why I liked it but he didn't. So I go back to the board I came up with a beat that happened to be for “shut it down” I sent it to him & he didn't even know where to start. “Shut it down” was released 4/5 months after I had given him the beat. It was my first radio worthy song

QN: So, let’s talk about the EP “SB Sessions”, what’s the story behind it?

I have a lot of sessions with people and we get to record/play stuff that we don’t get usually to listen to on radio. Some stuff is probably considered too urban for the market; you know whatever the excuse is. So what happened is I’m getting a compilation from those songs combined with some other original compositions then I’m putting them on an EP. What I have decided is get a bunch of pop vocalists; MCs have been taken care of a lot so my main concern is vocalists cause I have encountered so many talented vocalists some we don’t even know and we get in studio, do some amazing stuff and I’m thinking okay keeping this in studio or in my phone doesn't really help that’s why I decided to put this out.
But most of them are inspirational songs, gospel songs because most of the people I have met are from church.

QN: So which artists should we expect on the EP?

Just know they’re so many minimum 12 we also have collabos but I have got a lot of artists on the project. I’m putting on board who I believe are the best pop vocalists around town at the moment. There’s Ruyonga, Sonny, Crown Ace & others. These are people who are unique & they've to be out there for-example Sonny has been in the background a lot doing things here & there but I got to put her on song that brings out “the real Sonny” in her. So I’m trying to do that for every artist that’s on the project.

QN: We’re used to seeing you work with rappers & a few RnB artists here & there but on the EP you've changed the direction, could someone say that you’re trying to be versatile on the EP?

Yeah, that too but also the message, being a Christian and having a church background I’m trying to do a project that can be enjoyed by church and also people from the mainstream cause I’m featuring gospel artists & those that are not necessarily Christians but also carry a message especially to the youth. But at the core of the message there’s artistry that’s why I’m not leaving it to Christian artist, I have rappers, poets, vocalists, session musicians on the EP.

QN: When you were picking artists to feature on the EP did you have criteria that you followed because some are known and others aren't popular. What did you mainly consider about these artists that made appearances on the EP?

I did have criteria; first I was looking out for someone who has a pop sound cause that’s the target audience I’m looking at. You know someone if they opened their mouth they can easily grab the attention of the youth who is probably on their iPad face-booking and they’ll look at you & ask “who is that?” To me that sound from an artist is very important and as time goes on as we continue releasing a project each month you’ll realize the artists aren't so popular or they haven’t spent a long time in the game but they’re good at what they do & their sound is so appealing. 

Secondly, artists with the sense of originality; the artists on the EP, each of them have something unique that you won’t find anywhere. You won’t feel like this artist is trying to be like “so & so” or they’re trying to sound like a certain international artist. That’s pretty much the criteria I followed.

QN: Lastly, you also direct/produce documentaries, films & music videos like CODE’s latest “Enter the Ring” video, should we expect visuals for some tracks off the EP?

Filming is my profession & I’m now shooting documentaries for NGOs. It’s something I do mainly because of the art & it’s my profession. Being a music video director is just a bonus.
We’re going to release visuals of some studio sessions; some will be combined to make videos for certain songs. There’s also a mini documentary coming up about the EP towards the end of the year probably in December.
 Furthermore about the visuals we’re using a red scarf for the artwork where I try to hide the identity of every artist. What we’re looking at is if we hid half of their identity, would their output still make sense to you? So it’s not about its Ruyonga, its Sonny it’s about the audio & message. So for every song I release the artists have a red scarf around their heads on the artwork.

Vote for The Tribe UG As The Best Entertainment Site In The Ongoing 2015 Social Media Here (www.socialmediaawards.ug/vote/)

Connect With Josh SB
Twitter: @JoshSBSessions
Facebook: Josh SB
Soundcloud: https://soundcloud.com/josh-sb-1

Contact writer;
Facebook: Byaruhanga Felix FeliFed
Twitter: @TheNinjaFelix
Email: theninjafelix@gmail.com

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ReDefinitions The Beat - Baru [Interview + Download]

By Byaruhanga Felix (@TheNinjaFelix)

The in-house producer at Dustville Records, Baru is releasing an EP titled 'ReDefinitions The Beat' which features different rappers on the same beat (download the beat here). The EP will be released in phases starting today with the beat and then later on Monday, the 10 rap verses (10 artists) will be released on different days. We shall be putting them up here on the blog starting with beat today. I paid him a visit at Dustville records and we had a discussion about how he came to join music production, the EP he's releasing and the current state/direction of Ugandan hip-hop.

QN: Who is Baru and when did he start music production?

Baru is Amanya Frank from kabale who is a producer/sound engineer and I'm the in-house producer at Dustville Records. I started music production way back in 2007 but at that time I wanted to become a singer (laughs). When I started in 2010 my first year I used to do production and singing until I landed on software, then I decided to do production cause I wanted a sector where I could excel, because I hate being a mediocre.

QN: Let's fast forward to 2015, when you were starting did you have a plan like creating a significant "Baru Sound" that would differentiate you from other producers or you just decided to produce and go with the flow of creativity? 

No, I had no plan. I just wanted to do urban commercial music. I wasn't aiming at a specific sound, all i knew is I wanted to do urban music and be diverse. At that point I was also still not sure whether I going to do  production full time or juggle jobs with production. It was of recent after campus when I decided to do production full time.

QN: Let's talk "ReDefinitions The Beat" that you're releasing today, break it down for us and how you created it.

I have been trying to do a beat EP for a while. I would do a beat, an artist listens to it they like it and they snatch it. But ReDefinitions is all about me breaking out of a certain creative process. I had a specific creative process where I would create only when I'm in a certain mood most especially when I'm in a happy mood but for ReDefinitions I was trying to make  beats irrespective of  whatever situation/mood I'm in.

QN: So, should we expect something different on ReDefinitions compared to the Baru production we've been listening to in the past years?
Yes, Initially I wanted it to be a beat EP, 5 beats but then I was like why don't I experiment with it and get artists (rappers & singers) onto the first beat. In addition it would also attract people to listen to the EP. So today I'm releasing the beat but starting Monday I will release the solo verses of the beat for a period of ten days. Then the other beats will be released after a period of 2weeks.

QN: So which artists should we expect on the EP?

They are 10 artists both rappers and singers. I have Tucker, AbaasaR, A-Pass, CODE, Pryce, Patrobas, Ninja C, P.I.F, Ruyonga,  & Enygma. I wanted to be diverse & versatile that's why we have different artists on the EP.

QN: One of the most heated up discussions when it comes to production in Uganda is a "Ugandan sound". You as a producer do you think it's necessary to have a "Ugandan sound" or can it be created?

I had this same discussion of recent with AbaasaR. We looked at Ugandan music from the 50's but you could see there has been no sound ever since then. Even Ugandan music back then you could hear it had some influence from other countries. Music on the Ugandan market has origins from different countries, look at dance-hall from Jamaica, hip-hop from the states, so I wouldn't say we have a Ugandan sound. Still you can't create it cause different artists have different influences, concepts and creation. Some artists walk in with concepts already created or I give a beat to an artist to create a song.

QN; What are you thoughts on the current state of the hip-hop industry as someone who is a part of it?

Honestly, I thinks guys are sleeping. Guys aren't working like the way they used to work some years back,its like they're tired of trying. There's a lot of vacuum space to be filled, no one is at the top currently. For-example if you look at lugaflow rappers no one is at the top as we speak. Also we have no proper structure from the distribution to the marketing strategy of the projects. Then lastly the fans aren't playing their part fully, like buying merchandise, going to shows and all that 'cause you know fans are the back-bone of the industry.

QN: Lastly your top 5 new skool rappers from last year and the new producers  who put out exceptional work last year.

My top 5 new skool rappers from last year I have CODE (he had a dope song and good video), Tucker (was putting in work with his #TuckerTuesdays), Pryce, Patrobas and Gravity.
For producers from last year I only have AbaasaR, Josh Sb and Nessim.

Download ReDefinitions Here.

Connect with Baru
Twitter: @BarBeatz
Facebook: Baru

Contact Writer 

Twitter: @TheNinjaFelix 
Facebook: Byaruhanga Felix Felifed 
Email: TheNinjaFelix@gmail.com

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Sulphuric Talks "KEEP THE FAME" Mixtape [Interview + Free Digital Booklet]

Keep The Fame (cover)

By Byaruhnaga Felix (@TheNinjaFelix)

Finally we get to release this mixtape. It's been a long journey since 2013 when we (The Tribe UG) approached Sulphuric about the release of this particular project. Back in 2013 it was known as "U.G .'NOMICS; When Pain &Success Rhyme" but along the way communication, determination, dedication and focus among parties was lost until of recent when I caught up with Sulphuric and we had a conversation about everything to do with UG hip-hop, change of the name of the mixtape, future projects and his personal career. Sulphuric is releasing the mixtape tomorrow (03.12.2015) under the title 'Keep The Fame'. It consists of projects that you may or may not have listened to before but we are attaching a digital booklet (PDF Version) about the mixtape that you can download here (665KB).
The booklet should give you a quick preview about the mixtape also show you who contributed to the final product of this mixtape but for now  here are a few excerpts  of the conversation we had.

QN: Whats good boss? Its good to have you here At The Tribe. To start off why has the mixtape taken this long?

The honor is mine sir. Thanks for the good work you're doing. I really appreciate. But that's a good question. There's a Drake quote that's stuck with me over the years, where he goes: "never forget the moments you began to doubt/ transitioning, from fitting in, to standing out" I relate to that but from like a selfish thought process. Because, besides not having the  inspiration to create.
I went through a phase creatively where I was trying to fit in and trying even harder to stand out. Its like i got caught up in the hype quite honestly.

Initially when i made music i made it for myself, to inspire myself. If it inspired another person, that's cool. But I didn't care about their opinion whatsoever. It was for selfish reasons quite honestly. So yeah, like i said I got caught up in the hype and started to care about opinions. When that happens, as an artist you get writer's block. You like start second guessing yourself. That's the moments of doubt Drake's talking about (laughs) But yeah, that and a 9 to 5 don't make for a great combination.

QN: You have changed the name of the mixtape a number of times, why is that so & why did you Finally settle for 'Keep The Fame'?

I'm a Gemini man. We're known for having emotional mood swings and what not (laughs). So i keep changing the title according to how i feel at the time. But now it makes sense because I don't have writer's block; i'm not second guessing myself; i'm back in my zone. And by "my zone" i mean making music for MYSELF. I think that should pretty much explain this title (laughs)

QN: You're in the process of shooting the 'Dark Knights' video and you're releasing a complete project does that mean sulfuric is officially back into music? Should we expect more projects perhaps an album?!

You see the cameras man. So you already know (laughs). But yeah man, i'm working on a few things. Bigger things actually. I just needed to get this music out of the way before the real storm. "KEEP THE FAME" is free; consists mainly of old music with a few exceptions. I'm really just trying to get it out of the way. But as you can see a "Dark Nights" visual will follow. Shout to Nes. This man is a Kanye west of visuals. Managed to breath life into this vision that i had for the record. So Mtv, Channel O, U.G is coming (laughs).

Yeah but after this project I have a collaborative EP album we're working on with Mr. StoneTown. What we're doing is, we're sampling music from the African continent's greats: Fela Kuti, Yvone Chaka chaka, Lucky Dube. So we're fusing an african sound with the 90's Newyork boom bap sound to create a whole new sound. No one has done this before, so i know its going to knock down barriers. So far, I got Santana on one of the songs. I'm hoping to score more features of artists I'm already fans of. Female Mcees preferrably. After that i will drop my full LP that we've been working on for the last 2 years. That one is not free (laughs). So yeah bro, we're stepping on afew toes this year.

QN: You released 'Don't Cry' ft. so severe back in 2012 and it made it to song of the year (2014) on one of the radio stations in town. what does this mean to you? Are Ugandan stations just appreciating ug hip-hop?

Actually that's a good question. To me a 2012 record making a 2014 'records of the year' list just shows me either there isn't enough good hip-hop being handed in or "Don't Cry" is simply a classic. Lets call it what it is. And the fact that i didn't make it for radio consumption at all in the first place makes it all the more timeless.

You can listen to that song or "Dark Nights" or "I'm not mad" or "Used to know" 10, 20, 30 years from now and still feel the freshness. Because my secret is simple: I don't focus on the "Sulphuric" brand. I focus on the "legacy": what will I be remembered for? When my time is up, what was my contribution? How many did i inspire? When in actuality the only person i'm trying to inspire is me. To me that thought process is the secret to making timeless songs, bro. I really believe that. And that's what i feel sets me apart from any other artist not just in U.G but on the entire continent, period. Not to come off cocky but its kind of the truth (laughs)

QN: Let's talk about the projects on the mixtape. You're honest on most of your songs like on dark knights where you refer to your grand mum and growing up without a dad. Do you choose to be honest when you get into the booth?! How's your process of creating a song (a song like dark knights)?!

Another good question. You see, there are different perspectives, dimensions or approaches an artist develops as they grow. And the things Atlas who i respect very much by the way but the things or image he & artists with that style portrays or talks about now. I did when I was 16 to 20 years old. I'm older now. You don't need to know the material things I posses, when I know the material things I don't. So to me it all boils down to the legacy. I plan to be a father someday. So I don;t want to be remembered as the guy who rapped about swag, cars, jewels, how many girls i slept with...even though i'v been blessed to have had all these things. I rather make music that's heartfelt, real and with a meaning because that's the type of music I want to hear anyway. Like to me, its not that serious. Rappers tend to take themselves too seriously.

I don't have to create an image. I can just be myself because I don't care about the next man's opinion. Or what popular culture dictates i should act or dress like because I have nothing to be ashamed of. And I'm very observant. As any artist should be. So my writing process is like... sometimes i'm the observer, sometimes i'm the participant. So when I say, "I'm bumpin' Pac looking forward to better days/ girls laughing cos i got on the same clothes i wore yesterday" its like, no one ever laughed at me for wearing the same clothes I wore yesterday (laughs). But it has happened to someone i know, and when they hear it and the way i say it, they will relate. And that song will stay on their playlist forever. Again, kind of like how Rick Ross makes lyrics that will push his brand. Jay-Z makes lyrics that will sustain his legacy. That's the difference. But don't get me wrong. As you can see on this project, I never imprison my creativity: I will give you that real; then give you style; then give you bars; I even switch and go Bobiwine local (laughs). So you cant categorize me. Therefore even 30 years from now you wont be bored of Sulphuric 'cause I have a lot of diversity to offer as an artist.

QN: While We are still on the subject of being honest in your songs allow me to quote you on 'The Muganda',  "everyman for they selves, this combat/ whatever you're trying to be now, i was that"  Is there anyone you're trying to refer to in particular in this song?!

(Laughs) Well, I don't know if its okay for me to say this because I recorded that song in 2012 man. Its 2015. Happy new year by the way (laughs). But yeah man, just to put it on record, that was around the time i'd stopped doing it for myself. The hype had got to me (laughs). I didn't have much going on. I started giving people what they wanted to listen to. Which wasn't the case for me in the beginning. So basically, with those particular lyrics. I thought at the time, honestly, my then good friend Atlas was a little jealous of me. I think he's naturally just a very competitive person. I'v been a sportsman all my life so i can see where he was coming from with that.

We just never talked about whatever happened. There was a lot going on but just on some personal shit. But i kept it moving. He did too. From me its always been love and respect though. Actually, Respectful enough that i did a video for that particular record and didn't put it out. People don't know that i have a sick visual for that song. I have it to this day man. I had Enygma, Krac and a whole bunch of big weaves come through to support the shoot. But like i said, i make music for me man. So no one has to see that video. Besides, i was trash talking everybody, not just one person. Everybody.

When you listen to "The Muganda" I was angry, competitive, caught up in the hype. Now, i'm just chilling tho (laughs). I'm peacefully in my zone. I don't want to compete, or impress. I don't even want you to be impressed by my music, bro. Man, you could tell me i'm the best rapper in U.G. You're getting the same reaction from me as you telling me i'm the wackiest. I could careless, honestly. No one here is getting NBA player money from rap. So its not that serious. Its really not that serious. Shout out to Atlas, man. Shout out to the hip-hop family, man. They can keep the fame. 2015 is ours though (laughs).

QN: I believe as a rapper you have been following the hip-hop scene according to you are there any rappers who have raised the bar or who have earned your respect?!

I haven't really been following the hip-hop scene that closely quite honestly. But i attended the End Of The Weak concert. The energy in there was insane. Shouts to whoever put that together. Another highlight for me was Mith's Destination:AFRICA album which I enjoyed heads to tails. Lyrical G's album showed why he's still the O.G in U.G hip-hop. And that Super Cypher by the Sphynx too was a game breaker. But other than that there's alot of hot artists on the scene that I respect enormously but unfortunately, this interview is about Sulphuric.

Download The Free Digital Booklet Here.

Keep The Fame TracKlist 

Connect with Sulphuric

Facebook: Sulfuric Music
Twitter: @SulfuricMusic
Reverbnation: www.reverbnation.com/Sulfuric
Soundcloud: www.soundcloud.com/donbossasulfuric

Contact Writer 

Twitter: @TheNinjaFelix 
Facebook: Byaruhanga Felix Felifed 
Email: TheNinjaFelix@gmail.com

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