Misterelle – Part 2 Hip Hop Forum Interview

misterelle3Interviewed by Madeleine Byrne

In this second part of the interview with HHF, Misterelle talks about his track, (‘Set’) how he feels about coming from Richmond VA, and how he takes inspiration from all kinds of musical sources …

HHF: Let’s talk about the track ‘Set’ because that’s completely different, right?

M: Right, a whole new other feel. It’s a little newer, a little more up-tempo if you will, but it slows down, more on a southern way of doing things, cause Virginia is a southern state and where we from, we like things slow. We like things that knock out of cars, stuff like that and again, the things I’m speaking about in ‘Are World’ actually translate to ‘Set’ because the same place I was talking about on this (laughs).

I was from 610 Ratcliffe Avenue. I could dive into the whole where it is and all that but it won’t really equate to the value of the song itself. It’s all about (pause) what I’m embodying, setting the scene. Cause now I’m saying I’m over that part of it: the melancholy of being from this place, now I’m accepting it and embracing it. So with ‘Set’ it’s like I’m trying to come up, so I’m talking about working a job and saying I did that (in the past), but I’m like I got to come up and get to a place where I can put people on to where I’m from.

The production is by Manu Mainetti – he’s from the UK from Huddersfield. When I heard the beat, I was like he’s embodying where I’m from cause that’s the sort of sound you’re going to hear if ever you come to Richmond. I’m talking about songs of that calibre, that heavy bass-driven stuff, banging out of cars: with the rims rattling. That’s what you’re going hear, you’re going to see old school cars, like Lincoln Continentals, Cadillacs and they’re going to be sitting on 20s and they’re going be playing shit like that (laughs).

HHF: What kind of hip-hop artists have this sound, though? Cause ‘Set’ sounds different to me.

M: That track is different, cause the sound is different because I’m different. I like the drums that come from quote/unquote ‘trap’ music, I like the drums and I like the cadences. I don’t necessarily like the melodies or the things they’ve used, but (if combine my sound) with trap music element, it actually makes a beautiful struggle.

HHF: What jumped out at me when I heard ‘Set’ is that I thought it had psychedelic sound, the kind of psychedelic hip-hop I associate with Cypress Hill. I don’t know if there’s any connection for you, but my interpretation of the song is that it’s about smoking dope and getting high.

M: Yeah, I love psychedelic music for real, you know stuff like I’m a huge fan of Jim Morrison and the Doors and Jefferson Airplane.

HHF: So Cypress Hill, is there any link there with ‘Set’?

M: Cypress Hill, right. I’m a huge fan of ‘How I can just kill a man’ and I like ‘I’m going to get hiiiigh’ (sings)’ boom boom. It’s like ‘Black Sunday’ it’s like the sound. But it’s more so of just embodying the theme of my music and what comes with it, cause psychedelia is like, sometimes we really are just trying not to die.

And it’s the stress from working hard to be broke. You work all day to be broke. And then you’re trying to dodge a bullet and you’re trying to dodge people selling crack and all that stuff, so sometimes you smoke a little weed; it makes you forget about it for an hour or two. It takes the edge off sometimes because you’re constantly fighting to stay alive.

(When we were younger) we used to smoke weed to escape this, really trying to calm down all these riots in our minds and in our hearts.

HHF: Living with a constant fear of violence, it would make you kind of nuts and this comes through in your music is, at 1’21 there is this amazing sample of this noise, you know. It just kind of like erupts in the song.

M: Right

HHF: And it’s very, very strange, but interesting. I think that the whole psychedelia thing, sure it’s about drugs, but it’s also about music that doesn’t have limits, does that make sense?

M: Right, cause it’s actually like a lyrical perspective on trap music. This is what trap would sound like if trap could articulate it like this.

HHF: When you say trap music, what kind of artists are you talking about?

M: Trap music, I’m talking about artists that are mainly about their struggles of being a dope dealer.

HHF: What you’re thinking about here then is the modern-version of West Coast gangster rap?

M: Yeah, right. What they call trap music is really gangster rap and gangster rap is really reality rap. You remember MC Breathe? And Scarface, Geto Boys it’s the same thing, it’s just a different sound, it’s the same thing. That’s why I don’t look down upon on it. We from the same place they from (…)

If you look at songs like ‘Set’ it’s all about pride, the pride of coming up and feeling like, ‘I’m set now. I’m set’ which is like ‘I’m conscious’.

HHF: I was wondering about that title, cause I was thinking it could be ‘Set’ in as I’m ready … or is it as you say, ‘I’m conscious’?

M: Right. It’s a title that’s so subjective, it can mean whatever you want it to mean, like if you work in a job, if you work at McDonalds and you get paid on Friday, you’re going to be like, ‘I’m set’ or if you sell drugs, ‘I’m set. I’m on the set.’ It can be perceived the way the listener wants to perceive it.

HHF: Maybe we can now focus more on Richmond, there’s a quote from your website which reads:

‘To a kid Richmond could be as vast as the entire universe at the same time as minuscule as ants on the ground’

How would you describe your relationship with your city?

M: My relationship with my city is a love-hate, but not really hate cause I don’t hate. Imagine you in a relationship with the best person you could be in a relationship with, but they’re addicted to drugs. It’s like the best you can be and the worst you can be.

That’s my relationship with my city, I love where I’m from because it made me the man I am, but it’s more so about the people who are there. I love the people. I make music to represent these people, more than myself. I was born and raised in Richmond, I’ve never lived anywhere else. I’m still here.

And it’s at some point we were proud of Richmond and other times we weren’t so proud: the murder rate was number one like in the 2000s, in the mid-2000s. Nobody talked about it. (…) Somebody like myself, well, I’ve been here the whole time, watching everything and absorbing everything, so I think a win for me, will be a win for the city – because I am of the city.

Richmond is such a beautiful place and so historical, if you look at the revolutionary war: everything that shaped the nation, everything you learn in your history class about war and slavery; all that it started in Richmond.

You can come here and see historical sites from wars that happened and shaped this nation. Richmond is a great place, a beautiful place: I love it, everybody loves it, but the crime could be less. That’s anywhere though. If you look at how Kendrick talk about Compton, or how J. Cole talk about Fayetteville, you know what I’m saying.

There’s a lot of work that need to be done in Richmond to make sure that the generation after us don’t go through the same thing we had to go through.

HHF: Is it like Detroit a city that became poor after industry moved out, are there reasons why it became such a high-crime city, is it about poverty?

M: Yeah, poverty-stricken. Most people live below the poverty-line, even those people with jobs. You can have a job and still be poor. In Richmond, my mama worked her whole life. We was poor for the first 17 years of my life. She worked ever since I was born. My mama got three jobs just so we could have hot water, food, you know what I’m saying. You look at your mama every day going out to work with a uniform on and you go like, man, all day. She ain’t got no time. I didn’t grow up in a home, where you’re like, ‘I love you mom, give her a hug and a kiss’ and I didn’t grow up like that. My mama had to go to work all the time.

She was like, ‘Did you do your chores, did you do your homework? I’m going to work.’ Come back, ‘you did this, did you clean the house? Ok, I’m going to work.’

HHF: This leads to the next thing I wanted to ask you about, which is how your mom’s musical taste influenced you. You say one of her favorite singers is also one of your favorites, is it Milira Jones?

M: Milira Jones was a jazz singer she was signed to the Apollo label; Apollo in Harlem and she was signed to it, she was a jazz singer and her music is what neo-soul is now… She had a very soulful sound, it shaped my ear for the sound. If you do the research on her, she’s got this song, go outside in the rain, and the ecology which is a rendition of a Marvin Gaye song. You will kind of understand me a little bit if you listen to this music.

My mom wanted to keep me pure and uncorrupted. The difference was my dad, for the most part listened to rap and everybody getting shot in it. So I’m a good balance, I like to think a balance between a beautiful sound and you know… rough stuff.

HHF: You have said my music is ‘where soul r&b and hardcore hip-hop collides …’ That’s a great quote, is this something you still think is true?

M: Right, right, exactly. I don’t want to limit myself to being a rapper, because I understand musicality; I understand tones and harmonies, that is the reason why I like musicians like Prince. Nobody would think I love Prince’s music; nobody would think I listen to Smashing Pumpkins (laughs).

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