10 Questions With El-P

Friday, 20 April 2007 15:45

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.

Aside from your collaboration with Matthew Shipp, it's been 5 years in between solo albums for you. Where have you been?
I did a film score, I produced the Cage album, I produced the Mr. Lif album, I did remixes for several people including Beck, NIN, the Mars Volta, Head Automatic, TV On The Radio, etc. I have been running a label, and making my record.

Does other hip-hop inspire you today? And where do you stand on the "hip-hop is dead" debate?
Yeah it does. And no I don't think it's dead.

Your style features a lot of fantasy and metaphoric talk. And it gets dark at times. Do you ever worry about going over people's heads?
I don't deal in fantasy. Just my interpretation of life as I see it. It gets dark because life gets dark. I'm not worried about being over peoples heads. I'm not running for public office. i just try and be true to myself and put my all in to the music.

Being the son of a jazz pianist, how do you think that influenced you musically?
My pop introduced me to music as something you play, not just listen to. He also started my vinyl collection. Other than than that I don't think jazz has had too much influence, apart from the way I hear drums and rhythm. It's probably why I don't always go for the standard 4/4 timing all the time.

About Flyentology, how did you and Trent Reznor meet and what was it like working with him?
He got in touch with me a few years ago and we just kept in touch. He asked me to remix the NIN single from the last album. We met a few times and hung. When I asked him to get down on the song he was on tour so I sent him the files and he recorded his stuff while on the road. I took what he recorded and chopped it up and moved it around accordingly. He's a cool motherfucker. Very generous and in my opinion a genius.

How do you think you've grown from Company Flow to now?
Too much to answer. I'm a different person now.

For a hip-hop head in the late 90s, Rawkus Records seemed like a miracle. From your point of view, how did your relationship with them deteriorate?
No point in getting into that. Needless to say, me and the owners of Rawkus come from two very different worlds and have very different philosophies and perspectives.

Back to High Water, what do you remember most vividly about the process of making it?
Feeling like i was in over my head. It was thrilling but terrifying for sure. At the end of the day though there was some real magic in those sessions.

What's the latest with Cannibal Ox?
They broke up.

What's up next for you?
Touring, touring and more touring. It's just great to be out again.