FEATURE INTERVIEW: Sittin' On Top Of The Clouds With Urban P

Interview & Photography by Meghan Killimade
June 22, 2010
 
Over the last few weeks our scene has been buzzing like mad about Urban P. The video for his single "Champion" was nominated for a Whalie Award, and his performance at the actual Whalie Awards ceremony in May was nothing short of stellar. That's all I've heard people talking about... for weeks! Now he's got another new video out for his latest single "Sittin' On Top Of The Clouds", which just debuted at his Oasis show on June 12. The one thing I've learned about Urban P in the last few weeks is that this guy digs deep to bring the best to his audience - he likes to do it up right, and he likes to do things large. He's obviously got New London's attention! Everyone wants to know... who is Urban P? Where did this guy come from? Today, we've got answers.
WailingCity.com recently asked Urban P some questions about his new album Welcome to The 860, how get got started, who he's collaborating with and what he's got planned for the future.


WC: How did you get started in music?
Urban P: For me music kinda just happened. I didn’t grow up in a musical family – as a matter of fact I’m the only musician that I know of in my family. The first rhyme that I recall ever writing was in my junior year of high school. I linked up with Jon Concept probably about a year after that. We went to middle school together and we started skateboarding at the same time and just started making music. We linked up with a kid James Clark from Portland, OR. Who at the time was like our mentor.  He was so ahead of his time and he definitely molded us. We went by the name Stealth Mob. We watched tons of kung-fu flicks, worshipped Wu-Tang and just made music every minute of the day. At that time my craft was very raw and over the years I’ve matured… my music has too and it’s grown from a very gritty hip hop vibe to a very diverse artist depicting murals on a very broad canvas.

WC: What was your main drive/influence for your latest record "Welcome To The 860"?
Urban P: The major influence behind Welcome To The 860 was that I basically had a lot of shit on my chest and inside my heart that I had to release. Music is very therapeutic and Welcome To The 860 was 25 years in the making. I aired out a lot of personal issues on the record. Just to let everyone know… I was scared to death to release this record because it’s so personal and it’s 100% me. I just wanted people to take a real good glance at the place I’m from, because CT is so overshadowed by NYC and surrounding areas. I wanted people to be like ‘You know what? CT got talent!’ I want the people from here to represent their shit. I put CT on my hand because I truly love it, and no matter what people say I will always stand behind my people.

WC: How do you feel about the current status of the New London music scene, and how did you become a part of it?
Urban P: At this moment NLC music scene is really buzzing and I’m happy to be a part of it. In the past few weeks I’ve met so many people that are in the music scene and are making great music. It’s overwhelming when you sit back and look at all the talent. I go to everyone’s shows – I was just at the Paul Brockett show and they killed it. You know we’ve got a great core of DJ’s who all spin great tunes. The bands are killing it every time – from The Hempsteadys, to Above/Below. NME is killing it, The Fears have an amazing sound. A lot of people don’t know this but Urban P didn’t just come out of the blue like it seems. I came back from Portland, OR with the mindset to get back with Jon Concept and pick up where we left off. At the time I came in he was spinning every week in New London at The Oasis hip hop night with Frank Lo. I carried their crates and helped set up their gigs. I was on Jon Concept’s album Dear Hip Hop which had a great buzz in the summer of 2007. We had everyone screaming ‘you ain’t hood enough’ which was a skit featuring Frank Lo. I can’t remember the exact date but my first time ever performing happened to be at The Oasis. I was probably 20 years old and when I went up to perform I was so nervous. I sat on a barstool and spit my raps. It was so horrible that I wanted to quit but I didn’t and I refocused… took my time perfecting, and 5 years later – here I am, Urban P!

WC: What would you like to see change or what would you like to contribute to the New London music scene?
Urban P: Unity… definitely more unity amongst the artists… you know, especially in the hip hop part. Everyone has an ego and they think they’re the best, but I don’t see it like that. I want to make good music and if you want to be a part of it, I’m all for it. I want to see the whole 860 really get behind us, (the artists), and support us. Go out to the shows, pay the 5 dollar cover, and purchase the CD’s. It’s time for NLC to come together and that’s something I plan to help achieve, but I can’t do it alone. If we all move as one we’re unstoppable, but when the ego’s come out and the pride starts flowing, this scene will fade out.

WC: If you could join forces with one New London artist/band/DJ for a day, who would it be? Or are you currently collaborating with someone now?
Urban P: I can’t pick just one and that’s a good thing. Jon Concept and I have a new mixtape we’re dropping July 17th called The Paper Plane Project. We’re currently shopping around for beats for the record. So far we got Smoke The World to produce a beat for us, Chumzilla and G Wiz producing stuff as well. I just got a CD with 10 beats from Octavia. We’re probably going to use a bit of his. That’s just production. As far as emcees, we’ll see what happens with that… a lot of politics. I’m anticipating a studio session with John Fries – he’s down to lay some guitar down for us. I want to work with The Fears – they’ve got a chill vibe…I really want to do a record with them soon. NME and I are going to do a song. I reached out to Gramz to do a mixtape. My arms are open if you want to work… let’s work!

WC: What is in the future for Urban P?
Urban P: The future for Urban P is a lot of work. The mixtape is on the way in July called The Paper Plane Project… with Jon Concept’s new album Illusions soon after that. Be sure to check Jon Concept out on the new DJ Kayslay mixtape hosted by Ty FyFe. I’ve got shows lined up for July opening for Ninja Sonic - doing a show at The American Legion in NL on July 17 and then we’re heading on tour July 6th through 9th. Coming back in town for the Sailfest show. I’m grinding out trying to open up new markets. I’m headed to Denver on August 6th to attend culinary school. I’ll be working with some people out there doing shows. Gaining more exposure is what the main goal is besides putting out good music. Other than that Welcome To The 860 is out… get a copy… it’s an amazing record. Urban P is out here. I’m a laid back dude – all about working hard and taking this to the next level.

Thanks to Urban P for taking the time do do this interview with us!



For more info on Urban P:


2010 Whalie Award Winners


Whalie Winners: Members of Stressbomb, NME The Illest
& Jaimee from Low-Beam



Here are the winners!!

• Album of the Year: Low-Beam - "Charge Of the Light Brigade"
• Record of the Year: Straight to VHS - "Self Titled"
• Song of the Year: Matt Gouette - "Opinion"
• Breakthrough Artist Of the Year: Get Haunted
• Best Alternative Artist: Fatal Film
• Best Alternative Performance: Straight To VHS - "Hey"
• Best Americana Artist: Paul Brockett Roadshow
• Best Americana Performance: Sue Menhart Band - "Why You Love Me"
• Best DJ: Chumzilla
• Best Hardcore / Metal Artist: Amido Black
• Best Hardcore / Metal Performance: Black Water Blessing - "Chainsaw Hands"
• Best Hip Hop Artist: Above / Below
• Best Hip Hop Performance: N.M.E. - "Thank You"
• Best Indie / Experimental Artist: The Weird Beards
• Best Indie / Experimental Performance: Brava Spectre - "The Lioness Eye Tamed My Open Palm"
• Best Music Series: Sinners Circle
• Best Music Video: The Weird Beards - "Willow Tree Express"
• Best Punk / Ska Artist: The Hempsteadys
• Best Punk / Ska Performance: Stressbomb - "No Time For This"
• Best Rock Artist: Gone For Good
• Best Rock Performance: The Reducers - "Tokyo Bay"
• Best Solo Artist: Matt Gouette
• Best Solo Performance: Brad Bensko - "Why Do You Do That"


CD Review: Matt Gouette - Emeline At The Moon Tower

Published April 26, 2010
By Adam Wujtewicz

I have lived in New London for 3 years and been witness to its local music scene for around 5.  Once a week for those years I have heard the young and the old... and the square and the hip ask Matt Gouette when he was putting out an album or when he was playing next. Well guess what?! He’s got a proper release out now and it’s called Emeline at the Moon Tower, (Telegraph Recording Company).

It’s what you’d expect from Matt in that it’s chock full of pop rock songs about love, loss and various other human emotions.  What you may not expect if you know his live show is that these songs are surprisingly upbeat and super layered, creating production of pop grandeur.  This can be double edged sword for musicians.

For as good as it sounds and as well written as it is, the planning required for this sort of thing strips it of any spontaneity or moments that make you gasp.  Planning does make for cool little quiet moments like “(Opening)” and “Eerie Highway Sounds”, which turn this into an album rather than a collection of songs... and that is important. There are of course some stripped down slow dance numbers on there, “Glorious You” and “Moon is Low” for example.  This also adds to the atmosphere of the record.

In the end “Emeline at the Moon Tower” turns into a soundtrack of sorts, most likely for big Hollywood romantic comedy maybe starring Drew Barrymore and Ewan McGregor.  It is a record for a big audience and big speakers; so if you know a huge audience send them Matt’s way and if you’ve got huge speakers listen to “Emeline at the Moon Tower” on them to catch all the nuances.

CD Review: Uncle Flatty - Sad Songs and Wildflowers

Published April 8, 2010
By Adam Wujtewicz

With the lack of countryside and or farmland in New London you wouldn’t think we’d produce so many folk/country acts but we do and Uncle Flatty is one of those bands.  With a mix of traditional country and 70’s southern rock you’d swear these guys came from Alabama if they didn’t have Connecticut accents.  The first song on their record Sad Songs and Wildflowers has a southern fried Grateful Dead feel.  It sets the tone for the summer time traveling music that makes up the record.

It’s mellow but the songs move along at a pretty good pace which keeps the music from being sleepy.  Though the vocals are the focus of the record the moments when the music shines through is what makes the record what it is.  It’s not like the southern rock guitar solos ala Lynyrd Skynyrd or the Allman Brothers.  These moments are much more subdued like the lead guitar work on “Janet Guthrie”, the slide guitar on “Buddha” or the Harmonica on “Sarita”.  This subtle change in form is what makes Uncle Flatty more than just another bar band.

With the tone and feeling of this record it’s actually a little difficult to picture them playing anywhere besides a green field under the midday sun.  Even the songs that should be sad seem to be played with a smile.  I don’t know if this makes the title a complete misnomer or if it completely explains the title.  I’ll leave that decision to you.

You can purchase & download Sad Songs and Wildflowers by Uncle Flatty here: Uncle Flatty on CDBaby

 




CD Review: A Moment Of Silence - The Silence Is Harder

Published February 17, 2010
By Adam Wujtewicz

Though most angry young musicians have pointed their style towards tough-guy hardcore or noise rock there are still the select few who realize that a big riff and mid tempo pounding drums can show just as much aggression. A Moment Of Silence is one of those bands and they’re set to release their debut CD The Silence is Harder. I would bet my bottom dollar that there is a double meaning there....

There is a great deal of grunge worship on this record. The vocals are vaguely Chris Cornell-ish while the music sounds more like Alice in Chains, especially on the track “Valek”... or the Undertow era of Tool like on the track “Retina”.  The big difference between the records of the early to mid 90’s and The Silence Is Harder is the production.  This record is slick sounding, which usually wins over a bigger audience but it also takes a lot of dimension away from the guitar and it sometimes loses the bass in the mix.  On the plus side of that coin is that Reid's drums are clear as a bell and punch through everything, keeping you tuned into where the song is headed. 

The vocals are probably the biggest part of the slick sounding equation.  They are always out front and this puts pressure on vocalist Tony to sound just as ferocious as the instruments, a task which he successfully completes.  Even though the vocals are a touch too loud for my taste most people like the singer’s thoughts to come across loud and clear.   

The one thing that most people will write off as fluff, (even though I think it shows a great deal of character), is the weird and nonmusical track #7 “Untitled”.  It’s just background noise and it only lasts 1 minute and 19 seconds but it proves to me that they were thinking of this release not as a collection of songs but as an album.  They use this track to give the listener time to breathe before the home stretch of the record. 

Even though the production doesn’t showcase it, the songwriting on this album is what makes it worthwhile.  The loud-quiet-loud approach, and the bass lines that seemingly jump around the big guitar chords are what set this apart from another teenage rock bands demo. 
You can snag the new CD The Silence Is Harder from AMOS directly from the band or purchase and download it here: http://www.cdbaby.com/cd/AMomentOfSilence

---> AMOS/NL FACT: AMOS guitarist Marissa Mazzotta, 18, attended The Berklee College of Music summer program in 2009 and was the first student to utilize the Phil Agins Berklee School of Music Scholarship. Phil Agins was the lead guitarist of New London's Royale Brothers, who passed away suddenly in April 2008; the scholarship was set up by his mother and brother in his honor. Marissa continues to be a strong supporter/team member to help further the scholarship.


CD Review: Roadside Attractions - Whispers

Published February 7, 2010
CD Review by Adam Wujtewicz

New London’s many faced folk quartet Roadside Attractions are set to release their debut EP Whispers through Cosmodemonic Telegraph this Friday Feb 12!  I say many faced because not only have they had a whole slew of different members but their style has such a wide range.  The EP starts off with a mellow Allman-esque rock song “You Ain’t Gonna” and is followed up by the title track which is a doom and gloom reggae number. Granted most of the other songs on the record are folk and country based but there are splashes of blues and rockabilly in the mix as well.

The musicianship on the record is awesome - the steady tight rhythm section of Jason Banta (bass) and Matt Gouette (drums) along with the fiddle and lead guitar work of Craig Edwards… you couldn’t hope for a better backdrop to lay your vocals on.  The vocals are what most people are going to take away from this record and Daphne Glover has really become known for her sultry cabaret vocal stylings.  The low calm tones can be soothing but when switching over to a louder chorus the vocals can at times come across as a bit apprehensive. Paul Brockett also lends his own brand of twang to “Campari” along with Paul Brockett Roadshow band mate David Anderson who plays the piano on this track like it’s straight out of an old west saloon. The mixing on the record is very well balanced and the production values are clean and slick like a freshly waxed kitchen floor. This allows for maximum intake of musical ability but can tend to make the atmosphere of the record a little sterile.
The one song not lacking for atmosphere is the banjo ballad “The Night We Fell in Love”.  On top of the sparse music, they laid sounds of New London: trains, sirens, seagulls, etc.  It’s a nice touch to a record with no other studio trickery.  Whispers  is a solid representation of what Roadside Attractions is all about and they should be happy to have been able to capture that on an album.


CD Review: Straight To VHS - Self Titled

Published January 21, 2010
By Adam Wujtewicz

Straight to VHS has wasted no time getting their name out as the hot new thing in New London.  They’ve been playing shows, shaking hands, kissing babies and now they’re releasing their debut EP Self Titled.  So what does it sound like when 2 mustaches and a weird beard record under the supervision of Fatal Film front man Matt Potter?

Well the production values are somewhere between Jay Reatard (R.I.P.) and Times New Viking.  Almost everything clips and there is a hiss and fuzz that will be endearing to most garage rock and punk fans but will most likely turn off the casual listener. As for what catches your ear... the vocals and the bass completely rule the tone of this record.  The overdriven bass cuts through absolutely everything and socks you straight in the gut. 

The vocals, though melodic, are multi tracked so that it sounds like there is a large gang of people singing at you.... (and by the way, that actually happens too, thanks to Matt Potter and second Fatal Film guitarist Sebastian Coppotelli on backing vocals on tracks "Hey!" and "Have You Gone").
There will be a lot of comparisons to ’77 style punk when people talk about this record but the snarl and swagger of this record is much more rock n’ roll.  The fun time pop mixed with the aggressiveness of these songs reminds me more of underground 60’s bands like The Sonics and The Standells than the Sex Pistols and the Clash.  In short Self Titled is 5 simple and well crafted rock songs that you could very easily find yourself bouncing around your room to… while no one was looking of course.




Straight To VHS "Have You Gone" @ Oasis November 14:
(Video by Wailing City Photography 2009)

Straight To VHS Video "It's Fun":

For more Info:

CD Review: Good God! - Self Titled

Published December 26, 2009
CD Review by Adam Wujtewicz

Good God! recently released a self titled CD and with only one show left before guitarist Tim Grimes goes to live on the left coast …you’re not going to have too many opportunities left to get it. So make sure to get to the show Monday and get a copy. (Details on the show are at the bottom of this page....)
This recording is super crisp, clear and polished, which is a compliment for a band like this.  There are 4 instruments doing different things so it’s imperative that you hear all 4 clearly.  The guitar tones are all pretty sharp and slashing but there are a lot of intricacies in what they’re doing so the thinner and more attack oriented sound is advantageous. They sound great, very natural, very well panned,  (if you’re listening in headphones this makes a big difference), and prominent but not over powering in the mix.  Mike Winslow’s drum playing is very energetic and interesting throughout the entire record.  He is able to push the songs along and create flawless transitions between parts of the songs.

When most people think of primarily instrumental bands I would bet the first two that come to mind are Mogwai and Explosions in the Sky.  Well I’ll tell you right now there are very little of those bands coming through in this music.  The songs structures on this record are much more traditional and have a much smaller and more intimate sort of feel.  Think more of a mellow Don Caballero or Ghosts & Vodka.  The interweaving of guitar and bass and the solo’s are more of a factor than the giant buildups and huge atmospheric soundscapes. The track “Books on Etiquette” for example has super lyrical guitar playing which completely takes the place of the vocals which a song with an arrangement like this could have had. 

The tracks  “Michael’s Afternoon Swim”, “Misdirected Love” and “Awake at Night / Tom Cruise was a Lousy Lover” all actually have vocals in them.  They are very reminiscent of the band Hum.  They are almost talked and at points bordering on monotone.  It’s an interesting thing to mix in but these songs become very standard rock songs on an album that was surviving on great musicianship.  I will admit that the opening lick and the noise ending on “Michaels Afternoon Swim” are 2 of my favorite individual parts of the record.

Good God!’s self titled offering does not have much in the way of surprises or studio trickery but what it is, is an honest and clear representation of what these four individuals were able to accomplish as a band in their few short months together.

CD Review: Brava Spectre - The Hands, The Water, The Hands That Occupy The Water

Published November 29, 2009
By Adam Wujtewicz

There is an ambient violence to this record.  The brutality is not in the attack, as it is in their live performances, but in the building cacophony that makes up most of the tracks.

The reverb soaked guitar and yelping vocals that tend to get lost in the overall noise of a regular Brava Spectre show are allowed to shine when put on record. The guitar tones are very split between a sharp slashing sound to a giant wash of noise; this highlights the dynamics of the songs rather than causing them to drone.

Steve’s drums are forceful and very natural but at some points can get a little lost in the mix when the bass kicks in… the guitars seem to take up a lot of space. If you keep your ears on him though Steve will amaze you with some of his breaks and fills.  The bass sound is my one complaint with the record.

It’s all low end and leaves very little punch which tends to take away from the heaviness of the record.  The one place the bass sound works perfectly though is in the middle of “Noosery!  I Hung My Neck, Cursed Jowls!” right before gang vocals.  Standout track of the album is “By The Lust, By Such A Tender Proposal”.  The dueling guitar work and the incredible drum breaks make this song the most in-your-face on the record.  So be prepared for a different, but no less intense side of Brava Spectre with The Hands, The Water, The Hands That Occupy The Water. 


For more info on Brava Spectre:



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