Editor's Note:
Surely, a big frustration for an artist is lack of deserved recognition. Recognition that would and should be facilitated by the media. The worst (and unfortunately frequent) scenario is an artist who takes out time and lets a media rep pick his brain for a prospective endearing news piece that will never see the light of day. [It sucks when it happens to the author(s) of said piece too.] Such has been the case for producer-on-the-rise Nicolay whose interviews – I actually have two! – have been held for months and I’ll take the blame for that. The In-depth interview you’re about to read happened seven months ago after a Nicolay show in LA. It still holds value today.

Jay Electronica: Peace, you ready to do this interview?

Andres Reyes: Definitely.

JE: Let's go.

AR: Okay

JE: I got a few moments to spare my good man.

AR: Thanks; just give me one second to pull up the notes I

Editor's Note:
There's much to be excited about if you've been clamoring for balanced hip-hop coverage on FM radio stations. Many of us can consider the newest addition to Hot97 late Sundays a step in the right direction. Peter Rosenberg has been learning his craft and paying dues in Maryland, before getting his shot at the "pulse of hip-hop." I'm sure most of my peers at ThaHipHop.Com are rooting for him and hoping for more of the same at other so-called hip-hop stations worldwide. And we're also greatful to Josh for taking an initiative to get us the interview.

It was a Saturday morning and Rap City's Top 10 was on B.E.T. on a day when the sun must have been in a good mood as the sky was free of any dreary expressions. It was the first time my 11-year old ears heard I Used to Love H.E.R. That was over ten years ago and that morning is as crisp in my mind as my first kiss. That became the day when Common became my favorite emcee. Sure, he had an album prior, but Resurrection introduced a growing man attempting to leave his squeaky voice of Take It EZ and venture into the realm of adulthood. Every album released afterwards continues to show an artist challenging himself more spiritually and musically. So, when the experimental and overlooked Electric Circus was released in 2002, something that may have been natural to him seemed to not be slow enough for a fan base that was being spoon fed a declining mush known as 'rap music.' But now with his second album with fellow Chi-Town native Kanye West, he seems to overstand the system and find that balance between being artistically free and commercially appealing. Hoping to repeat and surpass where he left off with Be, he comes with Finding Forever, a dedication to Dilla and an attempt to make timeless music -- a road that seems less traveled. It's funny that we started our conversation about the album he loves least.

New York-based MC El-P burst onto the scene with the critically acclaimed hip-hop unit Company Flow back in 1993. By the late 90s, they were a part of the elite Rawkus family, helping to keep underground hip-hop alive during its’ first wave of crass commercialism. Conflicts with Rawkus helped push the group towards their eventual split. In the meanwhile, El-P has carved out an enviable career as a solo artist and producer. After groundbreaking works like 2002’s Fantastic Damage and 2004’s High Water (a collaboration with jazz pianist Matthew Shipp), El-P comes back strong with I’ll Sleep When You’re Dead. Comprised of 13 tracks filled with lyrics that range from political to philosophical, and with guest collabs from Aesop Rock to Trent Reznor, I’ll Sleep is not to be slept on. While preparing for his upcoming 26-date tour, El-P made time for an e-mail interview that touched briefly upon his past and his passion.