It’s about time we took it back to basics! So much of rap music focuses on the artist in the spotlight and while we know it wasn’t always that way, it’s rare we actually talk about the creator of the music.
In a world of ghost writing, guest writing, and which rapper is doing what in the media, I think it’s really important we show love to the musicians that create the background for lyricists to paint on. That’s why this week I spoke to one of the best to do it in Aus, Plutonic Lab.
“I’m at home in the studio… juggling” he chuckles. “Juggling lots of projects, some things getting done and some things not getting done,” he laughs.
Recently releasing new EP Blind Eyes/Give It Up, Pluto tells me about the new project and its original conception.
“Well, I really wanted to work with Natalie Slade and I have this friend that’s a multi-instrumentalist/producer. He was sort of able to help develop some ideas I had so when I finally met up with Natalie, we were able to get the tracks down. Raiza Biza was an MC I met through Sam Dutch [head of Grindin’] and when we weren’t sure what to do with the final verse of Blind Eyes, Raiza just made sense. In fact, all the personalities of our collaboration just kind of fit together so when the tracks were originally rogue, the minds behind them really brought it all together.”
Plutonic brandishes a pretty badass CV when it comes to hip hop. Half of iconic rap group Muph & Plutonic, he’s worked with some of the most influential rappers the country’s seen. He’s the drummer for Aus hip hop royalty Hilltop Hoods, has more EPs than you can cross-fade and in 2016 dropped a banger of an album dubbed Deep Above The Noise. So when you’re that fkn creative, how do you set your mind on what’s next!?
“I guess I just wanted something that would be interesting for her (Natalie Slade) to sing over. I wanted something lush with a nice progression instead of something more slap that I’d use for an MC. She’s got an incredible range and because everything is already mic’d up in my studio, it’s really easy to put things together. I just don’t want it to sound too pedestrian,” he laughs. “You know, interesting! One of the beautiful things about collaborating is that artists can push you in ways you wouldn’t normally go so actual composition can become really entertaining.”
“I kinda play a lot of instruments, just OK… but then I also look at the studio itself as an instrument. For example, one method I use is that if I get stuck I’ll jump on a piano and record for a couple minutes onto a pad, then chop that up. So it kind of becomes a sample rather than me performing a whole take. I grew up in a household that had loads of instruments and I always messed around on them so while I didn’t know it would turn into production, I guess I still kind of am messing around with them.”
An artist that has not only witnessed but actually been significant part of developing the music we love would undoubtedly have creative insight into the shifts we’re now seeing in the genre. I think it can be difficult for any artist to not compromise for “what’s hot” or be influenced into what radio will play. While trends now have a short lifespan, I wonder if there’s consideration into what components of production and composition will and won’t work with particular audiences.
“I think it’s a mistake to chase a trend. You can be inspired by things, and everyone is to a certain degree, but like…” he trails off. “For me? I’m not really doing any new production styles, I think I’m just refining techniques and getting better at things I can already do. Refining the trajectory I’m already on, you know? New music to me can be old music as well. Hip hop producers especially are really good at finding weird and new things, often with an eclectic taste, so I guess it’s kind of finding what I do and don’t like instead of jumping on a trend someone else is already doing.”
So in this sea of rappers, where unlimited broadband showcases more rappers than cat videos, I wanted to find about the instrumental hip hop community. Most up and coming rappers don’t have the skills nor the equipment to create such audible luxury (shout out to all you beat boxers real quick), so I thought it best to ask if there is actually a market in creating instrumentals.
“I think in Melbourne, it’s more healthy than ever. There are loads of live nights where the emphasis is on production and especially the lo-fi hip hop community seems to be growing all the time. The battle of DJs vs rappers is really just perception but in a world where we listen to everything on streaming, it’s really hard to actually know who made the music you’re actually listening to. There’s definitely a market for it, it might not be mainstream but it’s there!”
The reason I put emphasis on ‘market’ is that I mean actual engagement that’s tangible. Not just people listening to it, but an audience where you can make your skill a financially viable business. It’s no secret that it’s crazy hard to make those “dollar dollar bills y'all” so if there’s a vehicle or avenue for you producers to get there I thought I’d lend a hand.
“Oh hell yeah, it’s hard!” Plutonic responds. “It’s harder than ever! With advancement of technology and over saturation, it’s really difficult to monetise anything in music. But there’s also a lot of opportunity in the field and you don’t have to stick to one specific thing.”
It’s funny that in an industry we recognise makes little money (mostly), production and mastering involves so much money! Equipment and technology is so expensive and even from a format perspective where you’re releasing vinyl, that’s the most expensive format to make.
“Well I’ve done two books now with my partner who’s a photographer, and because we come from analogue technology and ways of distribution we chose two of the most expensive formats [hard cover books and vinyl]. But having said that, we still found funding, we got them out. It might seem impossible but there’s always a way.”
I feel as though I’m constantly asked about the signed/independent debate and if major record labels still hold advantage when we’re seeing more and more independent artists dominating ‘success’ (whatever that is). Obviously there’s pros and cons to both sides but when you work in production, I think it’s probably worth considering your options before you’ve got an exec in front of you.
“Well when I was signed in the mid '90s, we had offers from Mushroom Records and Bladerunner Records — which was a weird one 'cos they were doing Sepultura and bands like that," he laughs before continuing. "Who then scored us supports for like, DJ Shadow and Tricky and stuff like that… It was huge to get signed or even tour as a hip hop group so that really opened doors for us. I think that if you need something like machinery, or the support of a major label will give you something that you can’t otherwise get then sure, go sign. But there are also loads of horror stories even from people I know where artists are hung out to dry… I guess my stance would be independent, solely based on the fact that you have full control of your own stuff. It really just depends what you want to do and how you want to do it.”
“The best piece of advice is just to build relationships. Find people with the same frame of mind and then build with them. Like when you’re a DJ, the circuit is so competitive and over saturated. If you can collaborate with people that feel what you do it’s a huge advantage, you know? Use your village.
"There are only so many things you can do at once so being a solo artist, it’s important to be in control of what you want and its trajectory 'cos there are so many other things in play — there certainly has been for me. If I’m making music with someone, I want to be able to steer the ship without compromise.”
Do yourselves a favour and take a trip down Plutonic Lane, I assure you that you’re not going to find many that can hold a candle to him and if you’re looking for a little more…
“I’ve got a lot of collaborative things coming up actually. Some of the best music I’ve ever made is getting close to finished with some guys from Toronto so I’m really excited about that. I’m starting a group with Natalie Slade, a project with Raiza Biza, the Hoods are always around and there might be something happening there soon,” he hints. “I’m just really excited to get new music out cos some of it is really different.”
Plutonic Lab has Blind Eyes/Give It Up out on wax for the upcoming Record Store Day so keep your eyes peeled fellow hip hopers. Peace.
