Besides displaying his art alongside some of the best artists in the scene, such as Barry McGee, Neck Face, and even Ozzy Osbourne, Peyote is affiliated with brands like Blood is the New Black and artists like Mr. Dibbs and Nobuddy. With a distinct style that will make you stop and stare for hours, Peyote is an artist to take note of. Although he mixes it up between paintings, drawings, stickers, wheatpaste posters and more, his style is always recognizable and unmistakably unique. Each piece has infinite detail that looks like it was spewed from a nightmarish mescaline trip deep within the grimy heart of the Tijuana underworld. Somehow the gritty insanity that makes up his artwork comes together to make a flawless ghoulish image. We caught up with Peyote to see what’s behind the artwork and what’s going down in the graffiti underworld.

Peyote is an interesting name; does it number amongst one of your influences?

As far as influences, yeah I’ve done mescaline, and other hallucinogens; I hold peyote higher than others simply because it is a life changing experience and should be viewed as such, I’m not a fuckin’ hippy though and don’t get it twisted.

Do you have any early memories of hip hop or street art that stick out in your memory?

Yeah I guess when I was in 6th grade I got thrown in the back of a squad car for stealing a Busta Rhymes CD, does that count? Nothing really came out of it they just kind of taught me how not to get caught, I suppose that’s the earliest memory of anything hip hop…

You’ve worked artistically with some rappers, like Nobuddy and Mr.Dibbs of Rhymesayers and Machina Muerte, how does hip hop influence your artwork?

I don’t know if it directly influences my work but I will say without music we would be nowhere whether anyone wants to admit it, well that’s another thing entirely.

What other aspects of life influence your work?

Probably people I meet all the time, I have always lived or surrounded myself with people who aren’t afraid of the seedy underbelly of life, I think that has always been an inspiration for me to draw the way I do, mostly people who just come in and out of my life or hang out in my area i.e. prostitutes, drug dealers, drug addicts, heavy metal kids, small time rappers, graffiti people who can pretty much fit any of the latter.

How has moving around influenced your art, how have the different regions contributed?

I would say that each place had a different effect on me, as far as the way I draw things I definitely owe it to Mexico for the patterning and the way I draw. I’ve heard a lot of people say it also reminds them of Oaxacan folk art which I like a lot and also Huichol Indian art or the peyoteros. I think that Southwestern American Indian art has also contributed to some of my style so it’s a pretty mixed bag at this point.

With such intricate works, can you describe the process behind one of your pieces?

Difficult question, really there is a starting point and I continue from that point outwards, I don’t usually plan the finished product to look a certain way unless it’s a paid illustration and there is a certain goal, you have to make money somewhere, but in my personal art it just works itself out, basically not much of a process.

What mediums do you typically work with?

Preferably above all, I would have to just say black ink on white paper or white ink on black paper, I see the world that way I think I have always been a person of extremes so this seems the best way to interpret the world, frankly I have a very hard time with color.

You do both street art and studio art; do you prefer one over the other?

They’re both good, both can get you places, it’s really how hard do you want to work at either one, what would you like to risk; I like both the same to answer your question. I’ve never been a person to say, “oh this dude is more legit, look how much he has bombed.” So what, who cares? If you are good you’re good I don’t care how you do it, just what it looks like, this world doesn’t need more trash so please don’t add to it.

What is the Minneapolis street art scene like? How does it compare to the art scene in other cities you’ve been to?

First and foremost, I would say Minneapolis street art scene is pretty crippled, you can owe that to a heavy buff, tough law enforcement on graffiti/street art and just the winter. All of it contributes negatively to what people are doing. Also as far as better cities top three: NEW YORK, MELBOURNE AND BARCELONA.

How do you think art and hip hop coincide, and how are they important to each other?

Same thing, different medium maybe. I guess I listened to a lot more hip-hop growing up now it seems like I almost reverted to shittier music for the lack of a better term…

Have you had any run-ins with law enforcement concerning your art?

Actually just the other day I was chased but luckily didn’t get caught, I consider myself a lucky person although I’m sure there is just something much worse than getting arrested awaiting me.

Do you think there’s something that musicians can learn from the street artist ethic?

I guess be prolific? Should get somewhere eventually. That’s a pretty big law.

What do you want people to take away from your artwork?

Whatever they like, I don’t want people to make assumptions about the person who made it more than anything. I would rather they just take away something personal that they can relate to, if they can at all.

What do you have in the works right now?

Yeah I have a show in NYC December 15th at Pandemic Gallery in Crooklyn. Come see it if you can, lots of great people on the roster including but not exclusive to, FARO, 27, DR.CRAB, OZE 108, GEN 2 the list goes on…

Any last thoughts or shout outs?

Yeah shout out to Steakmob, Palmetto Family, RIP CHARLIE MARKS, my good friend Elberto Mueller who just put out a book titled “The Autopsy of 2009″, awesome read cop it on Amazon.com, and my biological family of course as well as anybody who is behind me, you all know who you are.

The company seeks out artists the create original, modern and striking urban art that inspires our generation, prints their artwork at their headquarters in Montreal, and ships it out all over the word at prices surprisingly low for the art world, bringing affordable beauty to a whole new generation of art buyers.  Eyes On Walls is home to ten inspiring artists whose work ranges from oil painting to design to digital art, including notable artists such as Camilla d’Ericco, Charmaine Olivia, and HR-FM, and has hundreds of pieces available for as low as ten dollars per print.  We talked with the founder of Eyes On Walls, Tom Rowlandson, as well as a couple of incredible artists featured by the company, Alex Cherry and Lora Zombie, to find out some more information on this intriguing new collective.

Tom Rowlandson

Founder of Eyes On Walls.

AGM: What were your goals when you originally founded the company?

I started my career in the art business working for a mainstream poster publisher of artists like Andy Warhol and licensing properties like Disney. Eyes On Walls was founded to publish and promote a new generation of artists and make their work available, affordable and accessible to a new generation of art fans.

How do you choose artists to publish through Eyes On Walls?

Our target audience are true appreciators of art, they’re not looking to fill a space with something that matches their sofa. They’re also generally younger than the typical art buying audience, and are looking for something different and interesting. So we select artists to publish with that in mind. We receive submissions through our site and also actively seek out and solicit the right kind of artists to add to the line, usually adding only one or two artists at a time.

What are you doing differently than other companies out there providing similar services?

Most companies in our space are concentrated on building a massive digital catalogue of artwork for sale. Our approach is different in that we focus on a small number of artists and invest heavily in promoting them.

How do you think art fits into modern popular culture?

I think art is more popular now that it has ever been. I’d attribute that to how accessible the Internet has made artists, and the recent worldwide surge in popularity of street art. It’s everywhere you look really.

Do you have any plans to expand the company?

Yes – we are growing steadily and our next move in terms of expanding the operations of the company is to establish a creative, sales and product development office in Toronto separate from our manufacturing and fulfillment in Montreal

Alex Cherry

A Los Angeles-based digital artist heavily involved in Eyes On Walls, with dozens of striking, distinct, urban-style pieces available on the website. http://www.eyesonwalls.com/collections/alex-cherry

Do you have any early encounters with art that stick out in your memory?

Marvel Comics by Jim Lee, Star Wars conceptual work by John Berkey and Teenage Mutant Ninja Turtles. I was at one time obsessed with all of those and they’ve had a big impact on my work as an artist/designer. Especially Ninja Turtles.

Where does your artistic inspiration come from?

90% of my inspiration is from music, the other 10% comes from the rest of my life.

How does music influence your art?

Music is the boilerplate for my art. I start with a concept defined in a song and work off of that by any means necessary for me to “complete” my vision. Music is my storyboard.

What does your artwork mean to you personally?

It means a lot. It is an extension of myself, like a separate person I’m sharing my life with. My work goes out with other people, it has relationships with them, and sometimes it introduces me to them. I’m very lucky to have such a partner. My work makes friends with people, and sometimes introduces me to them.

What do you want viewers to take away from your artwork?

Anything people take away from it is enough. Though angry at times, my work has no enemies or prejudice. And like all people, I think it just wants to be loved.

Lora Zombie

A young artist from Russia, with a diverse, self-taught, unique style.  She has built a significant presence online, and is now branching into the gallery world. http://www.eyesonwalls.com/collections/lora-zombie

Tell us about your background on art. How did you get started?

I started from early-early childhood. I used to draw Looney Tunes cartoon characters all day long when i was a very little girl. When I grew up a little I started my self-education with books about how to draw, paint, etc…

At what age did you get involved with urban art? When did you first realize that art was going to be a major part of your life?

When I was around 15-16 years old I was drawing a lot of GORILLAZ fan art, and at the same time I had some access to internet, which helped me to see what was happening around art and music then. It was such an inspiring background for me so I had a lot of enthusiasm to be a part of this movement.

What is your inspiration?

Currently I am most inspired by music.

Who is/are your favorite artist/s?

Banksy. Ian Francis. Ashley Wood. Jamie Hewlett. Tex Avery.

For more art from independent and underground artists, check out http://www.eyesonwalls.com.

May 22 marked a life-changing day for many residents of one of the Midwest’s most-lauded hip hop scenes. Minneapolis, Minnesota was struck by a storm of epic proportions; a devastating tornado tore through Minneapolis’ North Side, killing two and injuring 31 while leaving hundreds displaced. It ripped through the neighborhood destroying over a hundred homes, tearing out nearly all of the trees and outing power for 80,000 people. The neighborhood has been chronically neglected for decades, and is home to a lower economic class, only exasperating the devastating nature of the destruction caused to the community.

Although the Minneapolis hip hop scene is often focused around the South Side of the city, the North Side is often cited as the birthplace of local hip hop in the Twin Cities, with house parties during the mid-nineties, and playing home to area rappers such as Toki Wright, Truthmaze and Unknown Prophets.

Although the event was undoubtedly a tragic occurrence, it has offered an opportunity or the local and national hip hop community to truly shine. Since the events that devastated this region of the burgeoning Midwestern hip hop Mecca, many artists have used the unfortunate time as a rallying cry to unite in an effort to help those that were affected. The enormous support of artists from around the country — which has truly been unparalleled — serves as a colossal reminder of the power of hip hop and its origins rooted in art and community.

The devastation that this community has faced has given rise to some of the cities most-successful artists to step up and represent their roots and a call to action for the rest of the hip hop world, with inspiring results.

Though there have been many efforts to aid the victims of the tornado, the most notable have been the efforts of the Minnesota hip hop community. There have been several fundraiser events to benefit the North Side, headlined by some of the best MCs from the region as well as notable performers from across the nation. On July 12, over 200 artists –  including many non-hip-hop acts such as Soul Asylum and Sounds of Blackness,  as well as hometown heroes and Rhymesayers artists like Brother Ali and Toki Wright — all performed for at a benefit that raised over $100,000 for North Side community organizations.

On July 19 was the first of an undetermined number of shows in the Moja –  a term meaning “one” in Swahili — concert series to benefit tornado victims, and featured out-of-town guests like the Bronx legend KRS-One, Detroit’s Slum Village, and North Side natives Toki Wright and Truthmaze. There are sure to be more fundraising efforts in the future, as the recovery is far from over and the door for hip hop working in the community is wide open.

The hip hop community has rallied around these tornado victims in an unprecedented way, and has made enormous strides in not only raising funds to assist them, but also empowering them and showing them that they have a voice. Despite red tape and bureaucracy in between the victims and the aid in place for them, community organizations have done an impressive job of helping them to accessing these funds and other resources available to them. As legendary hip hop pioneer KRS-One said at a community address at North High on the day of his benefit concert, “a community only exists in theory; it’s made up of the people.” The way that the community of the North Side and of Minnesota hip hop as a whole reacted to the devastation demonstrated the extent to which they can draw together and help out those in need amongst them. Although the effects of the tornado were devastating, the tragedy drew attention to a region in dire need, and strengthened the community, proving that there is hope for the future of the North Side.

Photo: Tony Webster (Minnesota Public Radio)

For information on how you can help tornado victims in Minneapolis, please visit this relief site.

Taking to his blog to make all of the snarky comments we all want to say (but never mention) about those that are disgracing hip hop culture and rap music, Big Ghostfase is about as subtle as Rihanna’s forehead. Having been forced to change sites and refer to differentiate himself from the Wu-Tang’s MC was not enough to make Big Ghostfase refrain from slaying rappers, actors who play a paraplegic teenager or Clear Channel’s favorite female MC/fembot, as he does on a basis more regular than a fiber-dieting man. Here are 10 of our favorite quotes that give you insight into the pure, uncensored comedy that is Big Ghostfase.

Or, in other words: Ayo, I’m about to hit you wit some of da best quotes from the man P-Tone over at BigGhostfacenahmean.blogspot.com. This one of the best sites to be gettin a laugh at nahmean.

Editor’s note: Once again, these quotes were not written by Ghostface Killah, but rather, a writer who has mastered the art of mimicking his writing/speaking style. We do not condone impersonating celebrities or rappers. We do, however, condone poking fun at ol’ uni-brow whenever possible. Enjoy.

10. “This niggas moms n pops basically got Rick Rolled when the doctor said ‘Its a boy!’”

-About Drake

9. “The shit look like it gon give you a pound n shake ya hand namsayin. It be lookin like a bear wit its eyes closed n shit. The shit look like a candy bar that got left in a car wit the windows up on a hot day n shit. … The shit look like ya hand when you be doin a shadow puppet for a duck n shit nahmean.”

-About Lil Kim’s Beaver Shot

8. “That shit was wack as fuck ma. But it was all good nahmean. But yo word is bond if other broads start rockin this Bride of Frankenstein meets the Jetsons look Imma hold you accountable for that shit ma.”

-On Nicki Minaj

7. “Ayo I aint got nothin against Wayne like that but his crew is some garbage niggas namsayin. That aint a dynasty or nothin nahmean. Thats a crew wit like 10 Memphis Bleeks namsayin. When Jae Millz is one of the more talented members in ya crew you jus losin nahmean.”

-On Lil Wayne and Young Money

6. “We aint grown up wit the crayola boxes wit the sharpeners n shit. Niggas aint had privileges n shit. Niggas was eatin razors n drinkin yoo-hoos.”

-On the new generation

The Roots, a group widely-known for their strong political stances both in and out of their music, were tapped last night to help launch a new political campaign called Rebuild The Dream.

“We are being lied to,” began Van Jones at the launch event for the movement, calling on attendees to recognize these untruths. He went on to chronicle talking points that are often used by conservative politicians and pundits, calling each of them lies.

Black Thought, Questlove and the crew took then took to the stage to show their support for the movement, playing a live performance that was streamed online from the political organization’s official website.

Rebuild The Dream, founded by Van Jones — the former Special Advisor for Green Jobs, Enterprise and Innovation under President Obama — is a collaboration between Jones and MoveOn.org, a website that promotes liberal political activism. The campaign is being touted by many as a rebuttal to the right-wing preachings of the Tea Party, who promote lowering taxes and less spending on social welfare programs.

In contrast, Rebuild The Dream’s message is focused on redacting tax cuts that are currently in-place for the wealthiest Americans and combating what the site calls, “right-wing attacks on the middle class.”

The full video for the campaign launch can now be streamed from the site at RebuildTheDream.com. In addition, supporters can sign up to host local gatherings fashioned after the Tea Party protests that have occurred recently across the country.

Watch the full launch video below.

The men and women of the U.S. armed forces have been engaged in the War in Iraq for eight full years, as of March 20, 2011. In that time, we’ve lost nearly 5,000 U.S. soldiers and thousands more have been injured, forced into multiple tours and redeployed after promises of troop withdrawal.

As we, as civilians, go about our daily lives, dealing with the struggles of a faltering economy, poor housing market and shuttered financial sector, it becomes all too easy to forget that the war has raged on in Iraq 24-hours-a-day for the last 96 consecutive months. It becomes all too easy to lose track of the time that our troops have selflessly abandoned for the sake of serving our country.

For our part, we hope to add some perspective to the time that’s been dedicated to the war to this point with the construction of this timeline, drawing from what we know best: Hip hop. From the release of the first Little Brother record, all the way up until Pharoahe Monch’s W.A.R., many classic and iconic records have come to fruition since the start of the war, and it seems likely that many more will continue to be released before the war’s end.

Check out the timeline below by scrolling left-to-right, click to “+” signs to view additional events and album releases.

What started out as a simple way to compensate for a lack of beat among hip hop’s early pioneers has reached the mainsteam — at least to some degree. Each day, hundreds of people volunteer their mugs and their beat boxing “abilities” to the world, hoping to grab onto some chunk of the hundreds of millions of views that beat boxing videos net as a group each year.

To be sure, the majority of the videos uploaded each day are amateurish (to be kind) and aren’t all that impressive. But, with a little digging, there are certainly some gems among the rubble. Some beat boxers — both professional and amateur — are so incredibly talented that it’s not clear if they’re actually recording the beat box, or if it’s simply being dubbed in over a video of them moving their mouth.

All forgeries aside, there is some incredible footage of some incredible beat boxers to be had across the ‘net. In this list, we compiled the 10 best beat box videos that we could find. For your viewing amazement.

10.

While this isn’t the most impressive beat box ever, it is the founder of the craft speaking on the history and showing off his skills. Either way, this video is a dope little history lesson and fun to listen to.

9.

This Belgian John Lennon lookalike, named Roxorloops, has some of the most realistic sounding drums we’ve ever heard. From the snares up to the hi hats and cymbal crashes, this guy just nails every sound. When he mixes in his own little twist, things get incredibly dope.

8.

Rahzel, AKA The Godfather of Noise tells MTV about his introduction to beat boxing. Although it’s not the longest or most-involved beat box session, it is another legend telling his tale and showcasing his talents. Dope.

It’s important to celebrate and appreciate all aspects of the hip-hop culture, so let’s take a minute to highlight the art of graffiti and the tools of the trade. Nothing compares to the thrill of clambering down under a bridge with a rattling backpack full of fresh paint, but running through the basics might just scratch the surface for those of you who have never picked up a can.

Before we get started, I’d like to emphasize the fact that graffiti is dangerous. Be careful out there, many great street artists have been hurt or arrested trying to paint — you’re not an exception. Graffiti is also difficult, don’t expect to go out there right away and be the best; it takes work. Also, we are not advocating illegal vandalism; know the difference between art and vandalism and be respectful with your graffiti. And finally, graffiti is definitely an art — don’t let anyone tell you otherwise.

Paint

It’s undeniably the most important part of the ensemble; whether it’s 77-cent cans of black and white paint from the local hardware store or premium, ten-dollar cans of neon acrylic Montana Gold. The paint is how you spot a graff-writer on the subway, by the loud rattling from his backpack or by the paint clinging to his pointer and middle fingers. At the risk of stating the obvious, paint is what covers the wall, what disguises the heavy gray concrete that entombs the inner-city as a canvas for vigilante art, and transforms manmade concrete leviathans into intricate murals. The paint is what people see, what blends and overlaps to form an image that will be seen by everyone walking by. This is how you communicate a message that wouldn’t be heard otherwise, or make a name for yourself and showcase your talent.

The paint in a graff writer’s bag can vary as greatly as the artist; it might just be one can of black paint for quick tagging, or it might be a dozen different colors for large-scale murals. In any case, the paint is the keystone of the art. Aerosol paint is the perfect medium for the art of graffiti, it’s easily transported and is the quickest and most-efficient way to cover a large area in striking color.

Brands to look for: Krylon, Molotow (Belton), Montana, MTN 94

Markers

When paint is too messy, too large or too conspicuous for your environment, markers come in handy. Markers fit easily in your pocket, don’t make too much noise and allow artists to scribble out a quick tag in a matter of seconds with minimal mess. These are useful any time; many graffiti artists will carry one at all times, especially if they are in the process of bombing a city. If a tagger notices they are alone on a park bench or in a skyway, they will quickly scrawl their tag for the next person looking closely to see. Anyone who has ever been in the bathroom of a music venue is familiar with the hundreds of tags tattooed on its walls, and there are few subway car windows free of a tag or two scratched into their surface. Markers are also useful for signing a larger piece with your tag, or adding fine detail. Varying in more ways than you would think possible, they can range from Sharpies to paint markers to refillable ink mops. Easily the most-portable graffiti medium, markers are incredibly versatile and convenient for quick and easy tagging.

Brands to look for: Sakura, Markal, Krink, Molotow

7. Kanye West & Fendi

Kanye West, the king of all things controversial, all things “out there”, and the center of all attention decides to sell his head as ad space for a cool $10K.

Yeah that’s right, while performing, Kanye had Fendi’s logo put into haircut for the perfect ad. I guess Kanye figured everyone is going to be looking at my head, might as well get paid for it, right? If someone offered me that same price I would do it too.

6. Bun B & Rice University

Bun B has a lengthy resume, including hip-hop legend, and a successful solo and group career, but come Spring semester 2011, Bun B will be adding college professor to the list. Bun B, or should I say, Professor Bernard Freeman will be teaching a class at Rice University in hip-hop and religion.

Call it crazy, but Bun B — whose entire solo discography consists of albums with titles that include the word “Trill” and is responsible for such solo smash hits as “Get Throwed” and “Git It” — seems like the last rapper that belongs in academia. I wonder how many students are enrolling in the class just to hand him a demo?

5. Birdman & Bronald Oil

Never thought I would see the day where Birdman would be featured on this site. One of the biggest entrepreneurs in hip-hop recently decided to expand his name and brand — but, he went a little outside of the box. While others throw their star-power behind cars, Sprite or even liquor, Birdman decided to invest in something else: Oil.

As if monopolizing on Cash Money Records wasn’t enough, Birdman claims to have started Bronald Oil & Gas, an, “independent oil and gas company focused, on the exploration, production and development of oil and gas reserves from conventional and unconventional formations.”

Then, if this story couldn’t be any more in interesting Bloomberg ousted the company, calling into question whether it was even a legitimate business. Good job, Bryan, good job.

4. Ghostface & His Doll

Ghostface is one of the best rappers in hip-hop, a legend in his own right, one of the founding members of the legendary Wu-Tang Clan, with at least a pair of universally-revered classic solo albums. But, while Ghostface was leaving his mark in the rap game, he decided to get money elsewhere too. Out of all the things he could have done (Wu-Wear anyone?), Ghostface chose one of the least-likely candidates: Creating his own doll.

Yes, a Ghostface doll. And, not just any doll. This doll sports a 14-karat gold chain, a robe, and a hat (they even let you decide which position you want to put the hat in). Best part is, you can buy this doll for the low, low price of only $499! Totally worth it, right?

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Believe it or not, being a producer that represents the city of Detroit is a hard task. There is definitely pressure carrying a leg of the production torch when you have producers like the late, great J-Dilla, Black Milk, and Mr. Porter applying a soundtrack to the city. But, it’s also considered a large privilege.

It’s exciting to be a contributing part of a hip hop community that has such a sought-after sound, not to mention a community that the whole world keeps a close watch on. I love hip hop with a passion, and I enjoy making music that provokes feelings through all those who listen to it. It’s no coincidence that my life’s most influential ages, 11-16, coincided with the years between 1991-1996 the single greatest five-year span in hip hop history, in my opinion.

Those were the days when I could turn on the radio and hear Gang Starr, followed by A Tribe Called Quest, mixed in with the likes of Stone Temple Pilots and Janet Jackson; the days I could turn on the TV and watch a Wu Tang video in the same ten minute block as Smashing Pumpkins. There was a chance you could hear the best mixtape of your life in the form of a great radio show. It seems as though back then, everyone had a chance to be seen and heard on one of the big stages. Nowadays, good quality music of all genres — including that good ol’, timeless hip hop — is something that real music lovers have to dig for. You literally have to own a shovel, some gloves, and a coalminer’s hat to be prepared. Can we, the “underground” artist(s), get some radio play and/or some television exposure along side everyone else? Digging gets tiring, and most times the only thing I really want to dig for is old, dusty vinyl.

Here in Detroit, there’s a vast variety of good hip hop to dig for, if you pay attention. From prominent emcees like Finale and Guilty Simpson, to groups like Street Justice and The Regiment; from lyricists like Elzhi and Royce Da 5’9” to hard-working producers like Mark Byrd and Ohkang, there’s really no excuse to not be a fan of Detroit hip hop. This place is where it’s at right now, and where it’s always been for good music.

While everyone else merges and follows the traffic jam on that nicely-paved 4-lane highway to the right, you’ll always have those few who prefer to follow that narrow, dirt road to The Left, curious to see where it leads. In this case, The Left leads you straight to Detroit. This collective (The Left) is comprised of myself, Journalist 103, and DJ Soko, and got it’s start back in early 2009. It began as a simple phone conversation between 2 artists displaying mutual respect for each other’s craft and throwing around the idea of doing a couple songs together. The chemistry was immediate and we soon turned the prospect of a just couple random songs into an entire 17-joint album called Gas Mask, considered by most to be the best hip hop album of 2010.

Shortly after starting the album, DJ Soko was brought aboard to not only provide the cuts for the album, but be the official DJ for The Left. We wanted to make an album that had a grimy feel, lots of static, and substance that everyone can relate to. We also wanted to put together a quality project that we personally would listen to from beginning to end — with a sore neck, of course.

When we finished the album, it was unbelievable. We sat on it for a while trying to find the perfect home, somewhere that would give this album the attention that it deserves, and the backing that it needs to take off. I was already signed to Mello Music Group with a production deal and was prepping the release of The Reset before we decided that MMG, who’s been putting out quality material since inception, would be the best place for it. It just fit the sound. The hard drums and dirty static-filled sample chops coupled with Journalist’s rugged, politically-charged flow, and DJ Soko’s raw, timeless cuts provides a mid-nineties nostalgia. Not to mention a priceless cast of features to help balance out the album.

It’s not really an album that I can explain or even talk about too much. All I can really say is that this highly-anticipated album is nothing short of classic, rugged quality. You would just have to listen and decide for yourself which song you don’t like; good luck.

The Left’s debut album, Gas Mask, is out now via Mello Music Group. The disc is available through UGHH.com and iTunes.