Posts tagged ‘MPM’
‘Suff’ means booze in German, but during the interview this up-and-coming beat maker took a break from sipping liquor on the rocks. Beat Bungalow caught up with him after the release party for his PilsDaddy LP at a Berlin vinyl hot spot. He waxes lyrically about the musical undergound, his work with Oddisee and his brothers huge record collection.
Winner of the Phat Kat remix competition, some have even compared the Suff sound to that of the late Jay Dee.
And if you listen closely there might just be a few of those slow-clapping, electroid elements in there. Chopped up vocals, dirty drums and all of that but with its own distinct overproof feel, just like his favourite drinks. His mixtapes are also worth checking out.
For real, Suff Daddy is far from tee-total, so catch him at an Alcoholics Anonymous session near you…until then: read this.
Photos: Robert Winter
You’re originally from Düsseldorf (home of Kraftwerk), but have been living in Berlin for a couple of years now. What do you think of the Berlin music scene, and what’s going in hip hop there right now?
Most of the time I make my own music at home, but in Berlin I think the best stuff is coming out of Prenzlauer Berg. There’s a few peeps who used to call themselves ‘Funkviertel’ and who live in that district. Part of that crew are Drum Kit, V.Raeter, V-Mann and also Morlockk Dilemma. I don’t have a lot of time for the Berlin scene otherwise – all the commercial stuff that’s coming from here sucks and I don’t listen to it. Otherwise, there’s a lot of hype about techno and electro. I’m not into techno, even though I’ve got to admit that I used to like house music quite a bit a few years ago and there’s still a few decent tracks coming out.
But most of the time I’m at home making beats, chilling with my girlfriend or I’m in the beer garden with my mates. fLako is another guy from Berlin who I’ve got a lot of respect for and he makes some sick music. There’s also Audio 88 and Robot Koch is another producer and he’s got an electro vibe going on. Generally speaking, only the underground stuff is good around here.
Let’s talk about your ‘Digital Invaders’ project for a bit: that’s a few years ago now isn’t it? How did that come about?
I’ve been making beats for 10 years and for the first seven, I didn’t show them to anyone. I was keeping the music on my hard drive and didn’t play it to anyone, just my friends. Then one day I got talking to Powell from Paris. At the time he was recording tracks with Bless 1 from Chicago. We kept sending each other beats and then he asked if I was down for putting together a compilation with him. None of us had any connections then but we had ‘…’ from the US on there, a couple of French artists and one of my best friends from Berlin, Hazeem. We just wanted to work together and put something out there. I only knew Powell through the web and we’d never met face-to-face even though we’ve known each other for four years now. So this year in August, we were going to meet for the first time at a Beat BBQ in Cologne, but unfortunately it didn’t happen. Digital Invaders isn’t going anymore because everyone is doing their own thing, but it was good fun.
And what about your PilsDaddy joints with Pillskills out of East Berlin?
I met Davey Dave in September 2008 at my EP launch party and he asked if I would send him some beats for a collaboration. I really like their lyrics because they don’t take things too seriously you know, they’re unpretentious and it’s just music with a funny twist.
Your brother’s vinyl collection had a big influence on you and your music. What kind of records did he have in that mysterious collection?
He started digging and collecting in the late 1980s until around ’97. He had all the classics, such as DITC and Large Pro. He had the first Main Source single, which was just called ‘Atoms’, a lot of French Hip Hop, stuff from England, Pharcyde…I could go on forever, but mainly golden era hip hop. In that respect, I’ve always tried to become like my brother what hip hop is concerned. He’s no longer doing this and has a different lifestyle with a steady job and so on. But it kind of stuck with me and without his record collection, I wouldn’t be doing what I’m doing today.
Did any particular sound or style of production stick with you?
Large Pro’s record ‘The LP’, which was never officially released but it’s been put out again recently. Tracks like ‘I just Wanna Chill’, Souls of Mischief and lots of others.
Your sound is a lot different compared to the other stuff that’s big in Germany right now. How do you feel being a 30-year-old producer, have you considered making music full-time? What’s your plan for the future?
I’ve still got this dream that I can do music full-time and do nothing else, even if that doesn’t sound that realistic. I’m not doing this because of the money, but because it’s what I like doing and because it’s my own little dream. I just want to sit at home and produce – until I’m old and have to go into an old folks’ home. I’m continue doing what I’m doing, even though it doesn’t pay. I’m happy with my Label, Melting Pot Music, and my plan is just to keep releasing records, ideally ten every year. Most of the stuff that’s available at the moment I did a year ago and I’m getting tired of listening, but it’s all good.
Just recently, my second remix 7’’ came out on Goodbye Records with a version of Psycho/ Look of Love by J-88. Olski from MPM ihas been releasing an instrumental LP, which is called Hi Hat Club. My next EP is due before the end of this year. I’m also working on something with fLako and Retrogott from ‘Huss & Hodn’. Another project I’m working on is with Hubert Daviz from Cologne, which is going to be called SuffDavies. Another project with ‘Sichtbeton’ that’ll be called SuffBeton. Another connection I made is with Miles Bonny from Kansas City who is a trumpet player and singer. Also, MegaSuff with Flomega. He’s a good guy and always very busy, but that should be done soon. Otherwise, I’ll still be putting in my hours as a DJ here in Berlin and maybe work on a little live project. That’s what my plan is til 2010.
What was it like working with Kev Brown and Oddisee, how did that work out?
I didn’t know much about Oddisee before we linked up, but one of my friends said to me that he was on tour and coming to Berlin. So I just wrote to him and asked if he was up for getting together and record something. He said cool and we met up for one day. He was a cool dude and the whole recording session lasted for about two hours. He rapped his verse and the hook and then Kev Brown came in on the track as well. That was before I got in touch with MPM.
By the way, mad props to Fleur Earth Experiment – I’m really digging the scene in Cologne right now. There’s some interesting and original music coming from there. Shouts to Hulk Hodn, Twit One, Uno und Testiculo, who did the first volume for Hi Hat Club. All the other commercial stuff is just bullshit as far as I’m concerned and I just like the underground stuff. For me it’s like this: the people who don’t earn a lot of money with making music often make the best music. I don’t want to hate on anybody, but most of the mainstream stuff is bullshit.
Lets talk about the Liks, The Alkoholiks. They were quite a big influence on your sound right?
That’s true, they’ve had a big influence and I think all of their records are tight, except the last one, ‘Firewater’, which I didn’t rate too much. My favourite one is ’21 and Over’. All they’ve done is rhyme about beer, bitches and weed, so it’s pretty limited in terms of what they rap about. But I just really like it and I just think they’re great. It’s the same with me, I don’t want to claim that I’m making really sober and serious music.
Have you got any plans to work with live instrumentation?
A lot of people have asked me that and it’s probably going to happen sooner or later. I just bought a Moog and I’m messing around on that at the moment. But I don’t play any instruments or know how to read music. I just experiment and record the stuff that sounds good to me. One of my predictions, 2010 at Sonar Festival in Barcelona, maybe we can do a live thing there…that would be tight.