So instead of spending time creating one album we teaming up on production afterwards and now enough material for 4 albums. We originally intended to produce the beats together but he had enough killers for 2 distinctly different sounding albums. J : Orko is an overachiever and came with over 200 beats already done. HHC : Practically, how did you work together on this project and how did you assign the tasks ? This project happened to be the right one at the right time. J : Orko and I have been trying to hook up for years but he was in Cali and I was in NYC. HHC : How did you hook up with Orko Elohiem exactly? What motivated you to do that? How long have you been interested in the works of your new mate? I believe you already wanted to release one of his projects when you were on Subverse, isn't it ?
It just consumed us to the point that if there was only time to make one record before all hell broke loose what would it be about…. Since we were on limited time, we created a routine and schedule every morning we turn on the television while eating cocoa pebbles to hear the most outrageous claims for war. J : We definitely had other intentions to make this incredibly innovative record. When and why did you decide to take this political route ? HHC : Concerning NMS, I've read that originally this project with Orko was not supposed to be this political missile directed towards the Bush administration. HHC : In your opinion, is it easier to be an independent artist today in the US than when Co-Flow begun around 92 ? They wouldn't know a hot record if it melted charring the flesh from their hellish cold greedy fingers. Old record exec's are concerned with their own careers thus nothing happens. Peers that understand the direction and bring enthusiasm to the fold that's needed to chart new directions. the best underground labels seem to be artist run collectives. What's your outlook on this phenomenon? Is it felt in the same way in the US as it is here ? HHC : What's your opinion on the health of the US independent scene? West coast underground artists (like Living Legends, Shapeshifters or Project Blowdians for instance) seem to be put in the limelight these days and to get a very positive response everywhere.
Yet I switched up because I was burnt out from running a label and lack the massive colossal ego to promote and market myself properly. Do you think that these new prolific and opportunist European record labels (Lex, Big Dada, B9000…) are a better fit to the kind of music that for instance you are doing ?īigg Jus : There's an appreciation that not as polluted in European markets which makes it attractive to an artist like myself. Hip-Hop Core : You've just been added to the roster of Big Dada through the release of "Woe To Thee O Land Whose King Is A Child".
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