Producer Spotlight: Klinik



Producer/DJ/MC Klinik has been holding down Indianapolis for a decade. He takes pride in delivering an arsenal of hard-hitting drums to production tailor made for the likes of Zion Se7en, WateRR & Ty Farris, Black Eddie and many more. A dedicated crate digger, Klinik is always searching for the next sound scape. Here he chops it up with us about his history in the game, his full projects and what’s in store.

RD: Break down your history in beat making.

K: I’ve been producing since 2009. I started off making beats a little bit different than most cats in the hip hop scene. I actually started producing on my iPhone, with an app called Beatmaker. Shit was like 20 bucks but it had 16 pads, plus recording capabilities through the mic on the phone. So I’d just listen to a record and hold my phone up to a speaker to record a sample, then I’d chop it up on my pads and get busy. Around this time, I started a duo with an emcee named Realeyez called The Soulution ( He told me if I wanted him on my beats, I’d had to start spittin too. So I started rapping right after I had made like 10 beats, haha. The first Soulution LP is mostly beats I made off my phone, I made like 800 beats on there before I upgraded my setup.

RD: One consistent aspect to your production is thick, driving drums. Do the drums come first? Is that something you listen for first in material that’s not your own as well?

K: Man, I actually get my main sample down most of the time before I lay some drums down. I gotta get drums to match the sample perfectly. I’m definitely a drum snob, I tend to stay away from the stiff sounding programmed drum sound. I ain’t with no average sounding drums, that shit gotta have soul. I like my shit to swing and I like my shit to bang. Drums are definitely one of the main things I’m listening to when I listen to other people’s shit. I study mad hip hop in general, so yeah the drums gotta bang and I like to chop my breaks up different from most cats to keep shit fresh.

RD: Speak on making Rap Monster with Ace One, was that your first body of work with vocals?

K: Yeah that was my first time remixing and recreating someone else’s project. Ace One is basically the Naptown James Brown. This dude is known has one of the hardest working emcees in Indianapolis. He was one of the first cats I met in the Indianapolis hip hop scene and he just showed mad love from the jump. He was already tight with Realeyez from back in the day, and he hooked The Soulution up with our first show and let us jump on his Rap Monster album over one of my beats. So the original Rap Monster album is one of the illest albums to come from Indy. Ace has been a part of mad groups, but it was his first solo album. So a couple years after he dropped it, he sent an A Cappella to a bunch of producers he knew. I started getting busy immediately after he sent them. I had some big shoes to fill, but I also enjoyed the freedom of being able to throw my own twist on some tracks that were already bangers. Remixing is way different than making an album from scratch it’s fun and gives the producer mad freedom. I like that shit.

RD: Your most frequent collaborator is Zion Se7en, what is it about him that sparks so much material?

K: Zion is just a beast, man. He’s a creative dude and always has been. He was another dude that showed mad love when I first started coming around the scene. Him and his brother Savage Trinity are the Verbal Godz, and I always thought they were the illest emcees in the city. We had built in a lot of different realms, but had only cooked up one track on the 2nd Soulution album back in the day. So some years passed and I hit him up, and he came through one morning to cook something up. He started writing to the very first beat I played, and that was the title track to The Zion Klinik. We both felt like it was a banger and that we should do an album. He can freestyle and can sing his ass off so writing a track goes by quick for him. He’s always been a creative dude through mad different creative phases. We knocked out the rest of the album and I brought the lab over to his crib to work on our 2nd album which became Serpent And Dove: A Man With No Eyes. He started shooting his own TV show on YouTube, and that evolved into a movie called Dirty Diana that he shot himself on an iPhone and then debuted in a movie theater here in Indy. It featured some tracks from Serpent and Dove about 4 months before the album dropped. We got some more shit in the works as well so keep your eyes peeled!

RD: Would you say he’s the strongest bond you’ve formed in music?

K: Everyone I collaborate with I consider brothers. We all hold each other down and it’s deeper than music. We all met through music but it’s all deeper than rap, everyone I build with whether it’s in person or online I’ve gotta connect with on a personal level, and we’ve gotta be on the same wavelength. Anyone I’ve ever worked with is always with that mentality. I’ve got a bunch of shit that hasn’t dropped yet, and I’ve got a bunch of emcees that cats in my city aren’t familiar with. I’m excited to hopefully be able to give them some ears they might not typically have. I’ve also got some cats overseas that are on the same wavelength, like my homies The Brotherhood from Ghana. They’re on Zion’s newest joint with me. They’re two brothers, Paul God and Guillotine Bars. I’ve got a loosie with Guillotine Bars on Soundcloud and we’ve got an album in the works as well.

RD: What do you want people to feel when they hear a Klinik production?

K: Hopefully they feel that shit in their soul! Hopefully it hits them the same way some classic hip hop does, but in a fresh new way. I try to make my beats as fresh as possible, while being rooted in the styles of the hip hop greats. I like to use classic production techniques that the forefathers have used. Hell, even sampling from vinyl in this day and age is foreign to most producers. So I try to keep my shit grounded in the classic vein, but with a modern flair.

RD: What project would you recommend to first time listeners?

K: For first time listeners, I’d say go back and listen to The Zion Klinik from Zion Se7en and myself, we dropped that right at the beginning of 2017. Its got some of my favorite beats I’ve ever made on there. There’s a joint on there for everyone regardless of what you’re a fan of. Grimy lyrical shit, posse cuts, soulful boom bap, songs for the ladies, it’s all over the place but it’s a cohesive journey if you bump it from start to finish. If you’re just interested in my beat tapes, I would peep 5 Samples or More &  JBBL Battle Beats.

RD: Serpent and Dove just dropped, what other plans are in store for the rest of the year?

K: Serpent and Dove 2 is already in the works, so expect that from Zion Se7en and myself later this year. I just dropped an EP with my boy Black Eddie as well, that’s available on his Bandcamp ( and all the streaming services. Up next is my boy Peter Haze’s mixtape Free Game. I’ve got six joints on there mixed in with some classic instrumentals as well. I’m mixing that down right now. After that is my boy Richalert’s album. He’s a dope ass emcee from Gary, Indiana that I linked up with, and we’ve got some heat in the works. Hopefully you’ll be seeing my name on a couple big name albums in the underground dropping this year. I’m just trying to stay busy and perfect my craft. I’m always down to work with someone if we vibe and it makes sense. So if anyone is needing some production, feel free to holla at me!

RD: You get 5 people to start a Klinik project, what calls are you making?

K: Yo, that’s a hard question! Let’s see, 5 living emcees I wanna do a project with… Lord Finesse, Roc Marciano, DOOM, Tristate, Scarface… That would be the most lyrical shit ever. Definitely a lot of storytelling joints.

Cop that Zion Klinik here

Serpent & The Dove

Follow him on IG and Twitter: Mefadoneklinik

Producer Spotlight: Don Carrera


Mississippi’s Don Carrera is our latest guest, he combines heavy chops, unique textures and layers to create a unique sound. His list of credits grows monthly, producing for the likes of Sleep Sinatra, Chuck N Lock and Ankhlejohn. His most recent body of work is Moving Parts, and EP for Hometeam’s Chuck Chan and Deuce Hennessy. Don’t forget to check the links after the piece, Don has some amazing beat tapes on his Soundcloud and Bandcamp pages.

RD: You’re our first Mississippi rep, I’d imagine most of what you hear in the neighborhood differs from what you make. Have you found any like-minded artists in your neck of the woods?

DC: Honestly, no.  The artists here are mostly the younger guys like 19-21. They mostly stick to the Trap Sound and the Louisiana style shit.  They’re heavy club music lovers here, but everyone here knows I make beats and that I sample heavy. They often tell me jokingly “oh you got them New York Beats”. Not many cats here doing music though. Maybe like two or three I think.

RD: Lo-fi has exploded in the past few years, to the point it’s become a sub-genre of it’s own. Who is your Mt. Rushmore of lo-fi artists?

DC: Yeah Lo-fi is jumpin right now, I guess.  It’s a lot of talented people out there making some nice beats.  Lots of these kids I hear be inspiring me to step my shit up.  As far as my Mt. Rushmore Of Lo-fi producers go, I’m not going to front like I’m this big Lo-fi historian.  I’m not familiar with the whole Lo-fi beat scene like that.  I like Madlib, Ohbliv and Dibiase. Stlndrms my favorite Lo-fi Producer currently.  His sampling and drums are always fire and I often use his Slappy Drum kit.  All I know is I always loved the “dirty sample”.  Before I knew of any of these guys mentioned my biggest introduction to that gritty dirty soul was DJ Screw.  His sound was Lo-fi as fuck, slowed down and chopped.  So DJ Screw is my Mt. Rushmore. Period.

RD: What feelings do you want to evoke from listeners when they hear a Carrera beat?

DC: I just want people to jam and smoke to my shit.  Point Blank.  It’s just that simple.  No philosophical deep dive.  My beats vary in sound and styles but still stick to the essence.  I often say I sample whatever moves me.  Ill make some jazzy shit, some grimey stuff then turn around and do some trap stuff in one session. The beats gone give you whatever I make it to be, ya know. At the end of the day, its gotta JAM.

RD: How many hours a day on average do you work on music? Are you a believer of the 10,000 hours theory?

DC: I got a full time job and still do probably at least 6 hours a day.  Ive been up at 5 AM making beats a lot lately.  My mind is clear during the early morning hours so I create better.  I also have the luxury of making beats at work too. I have my laptop and SP404 with me at work everyday so to make the time go by I make beats. 10,000 hours is an understatement.  I’ve been on this since 2013 and there is probably only been 2 days tops I went without making beats on average it’s 6 hours a day.  Learn something new and apply it then repeat, repeat and repeat.  Every time I learned new shit, I made even more beats, I love this shit. You give the time if you love something.  It’s a never ending learning process so I stay at it.  Shit will hurt your relationship with your woman, hahaha.

RD: You’ve gotten some nice placements lately, do you take a different approach making a vocal collab compared to your instrumental beat tapes?

DC: I just cook bro, plain and simple.  My beat tapes previous to my latest 59NSS were just showcasing samples and loops to rap over.  59NSS was a little more conceptual I would say because it was mainly for chilling on some smoking type shit.  Something fire you could play thru the house while you cleaning, relaxing with your other or smoking alone.  I wanted it to be something everyone could fuck with and not just some grimy boom bap. It’s highway music as well so that’s kinda where I was going with that.  As far as the placements, I just fucked with those guys music and reached out to send beats.  They rapped on what they felt.  Chuck N Lock actually reached out first after hearing the beat they used on a beat tape.  The rest is history.

RD: What’s your ultimate goal as an artist?

DC: My biggest goal is to just be as great as those who I deem to be the greats.  The rest is gonna come with that.  I’m not really worried bout trying to be rich off this shit,  but getting paid for this is a plus.  I really love this shit bro, so I’m going to do this regardless if money comes into the picture or not.  On some real shit, my short-term goal is to get Roc Marci on my production.  I don’t care if it’s just one I need that.  Also Westside Gunn too.  It’s gone happen.

RD: Who are some of your favorite up and coming emcees you feel are a fit sonically that you’d like to work with?

DC: Man all the upcoming emcees I’m fucking with is already loaded with Don Carrera production and about to let clips fly very soon. Most of these guys I speak with often on personal levels so I been building with some of the best of them right now and we been low key putting pieces together.  Me and Bub Rock got shit coming. I got some work with Smoovth coming, Sully Nomad, Mak P, and Eddie Kaine.  The homie Rim just got some joints from me.  My bro Prynce P also got some shit.  I got a couple Primo Profit joints in the stash.  I’m all over the place. I wanna get something in with Rome Streetz,  Griselda, and Crimeapple somewhere along the way.

RD: Other plans for 2019?

DC:  The plan is to keep learning and elevating the sound.  More visuals definitely.  More official releases with physicals and merch.

RD: First 5 artists you’d call to start work on a Don C production album?

DC: Roc Marci, Westside Gunn, Benny, 2 Chainz and Earl Sweatshirt

Follow Don on Twitter @GodOfDaSipp

IG: RichSince1982



Stream that Moving Parts with Deuce and Chuck Chan here


Producer Spotlight: The Artivist


Queens’ own Artivist is a man trending up. After years of producing album cuts for Rome Streetz and dropping instrumentals on his Soundcloud, he has a number of projects lined up. Here he touches on his history in production, what he has accomplished so far and what he’s got lined up.

RD: You are 21 with a 5 year old SoundCloud page, how young were you when you first started to make beats?

Artivist: I started making beats when I was like 14 years old. Prior to that I always had a love for music. My older brother passed away when I was younger, he was a hip-hop head. I found some of his CDs years later. Reasonable Doubt specifically was the album that sparked some shit. This was like elementary school. I used to blast that album in the house and get lit when nobody was home, Performing and shit. After that I would always have my sister downloading music for me on Limewire, asking for everything from Wu-Tang to Tribe, to Masta Ace. I would say I was a student way before I was trying to mess with it.

RD: What program did you learn on, and how has that evolved to today?

Artivist: I taught myself how to make beats on GarageBand originally. Some people hate on it, it’s what I had available and I learned how to make it work. Some people don’t believe I still use it. I feel it doesn’t matter what you use, as long as you make that shit work & you’re able to achieve the sound you want. Right now along with GarageBand I use Pro Tools, an MPD, a turntable and records.

RD: It doesn’t take many listens of your work to know your a soul man. Who are some of your all time favorites?

Artivist: Yeah 70s music is my favorite, from soul and reggae, to psychedelic rock and funk. As far as soul goes, Isaac Hayes and Barry White are two of my favorite producers of all time. But Al Green, Marvin Gaye, The Stylistics, The Isley Brothers, Curtis Mayfield, Gil Scott Heron to name a few.

RD: You have a long-standing relationship with Rome Streetz, with multiple placements on many of his projects over the years. Talk to us a bit about that and what you guys got cookin up for this year.

Artivist: Yeah Rome is one the illest emcees. Met Rome when I was like 15. Uploaded some beats on YouTube, he reached out and we’ve been cooking ever since. I’ve worked with him enough to where I feel I could create beats catered to his style. We have an album dropping soon, Jewelry, it’s sounding crazy, really excited for people to hear it. Shoutout to Badinflunyce.

RD: The Cruise Tape featured some fly tunes that are perfect for doing just that in the whip. Any plans to do another one?

Artivist: Yeah I’ve received a bunch of requests to do another one, it’s coming soon.

RD:  What would say your strongest quality is as a producer, and conversely what do you feel you could improve at?

Artivist: I would say my strongest quality as a producer is my ear, because I don’t just listen to rap. My ear for samples, along with quality control. I’m really my worst critic, so naturally I think I can improve at everything. I’m excited to learn and fuck with different programs and equipment. It’s only gonna get nastier, the most important thing for me will always be to make the music I wanna listen to though.

RD: If someone were to ask you to put them onto your music, what is the first song you pull up?

Artivist: I would probably play them my latest joints. My best and favorite work is all unreleased right now. If I had to choose though, it would be Gem Star Bars off Noise Kandy.

RD: Plans for the rest of 2019?

Artivist: I just want to drop music. I feel like I’ve been making beats for a while but this is the first year I’m really dropping music. I look forward to building with a bunch of artists and producers. Just making quality work. Jewelry is dropping – Rome Streetz x Artivist.  I have a couple projects that have been in the works, one with Josiah The Gift from NJ. Another with Gin Rummy from Australia. Bunch of collaborations. I definitely wanna drop a producer project with some of my favorite rappers, it’s gonna be dope year.

RD: If you could work with any 5 artists that Artivist album, who would they be?

Artivist: Roc Marciano

Mach Hommy

Earl Sweatshirt

Bub Rock

Guilty Simpson


Follow him on Twitter @TheArtivist_

IG: TheArtivist


Producer Spotlight: DJ Nugz



As we have reinforced time and time again, the upstate NY scene is a dominating force in the game. There is top notch talent in all phases of the culture, one being Nugz. He is not new to the game, but after a long hiatus is back in a big way with his album Stashbox Chronicles. It plays through nicely, mixing in interludes between tracks featuring Daniel Son, Eto, SmooVth and many more. Nugz touches on his history, the making of the project and news of physicals for Stashbox. 

RD: Tell us about your history, how long have you been making beats?

DN: One day my sister Erin brought home Outkast’s album Aquemini. That kind of changed things for me and exposed me to authentic hip hop. Skateboarding also put me on to a lot of music. I vividly remember hearing Gang Starr for the first time on a skate video, and loving it.  I started DJing around 2004, maybe 16 years old. Both my sisters boyfriends at the time were DJ’s and made beats. I was heavily influenced by them. On one hand I was learning a lot of turntablism from DJ Ease and the other hand, learning more production from my brother in law who goes by LSD CLOTHES. Who to this day makes some of the craziest shit and is ridiculously talented. I would spend hours just watching him work. We would make the craziest tracks together early on with him making the music and me scratching. He’s a genius and that was a huge influence on me as far as making beats. The three of us had a group early on called Professional Bank Robbers. We made some real dope shit. From the jump hip hop was real family oriented to me. Ease has a wild career DJing all over the world and was the Redbull Threestyle U.S. champion a couple years ago. Check dudes credentials, he’s legit one of the top DJs in the world. He did the cuts on “Field Trip”. I started DJing and that naturally led to production. I was part of a production crew called the Goonies. We’d make joints together, go digging, get up every weekend and play our beat tapes for each other. I think that helped us all be sharp. Having a solid crew was important.  Definitely a great time in my life, and all I cared about was making beats. I worked with a lot of local emcees during that time. Rochester had a real vibrant hip hop scene during that time (Big shout out to James Niche from Duckdown. He was definitely responsible for the Rochester scene flourishing the way it did). I got the opportunity to open up for a lot of dope artists. Sean Price, PMD of EPMD, Ill Bill, Vinnie Paz, D12, Slick Rick, etc. I took a hiatus roughly from 2010-2017. Having kids, a family,  and work, I stopped doing music. Hip hop started getting more polished sounding, even in the underground. I lost interest in it until a couple years ago. As soon as I was back into it, I was so influenced I started the project.

RD: How has your setup changed from your beginnings to what you use today?

DN: Set up has always been minimal, and I mean bare bones. Hasn’t changed. I started with and still use Sony Acid Pro. I use Reason a little too. As far as hardware, I have a Rane TTM 57SL mixer, pair of Technic 1200s an MPD, a couple midi keyboards, drum set, guitar, but the majority of my beats are made in Acid with no midi devices, keyboards, snyths, etc. The main focus has always been records. That’s the influence. If I want a synth sound, instead of playing it, I’ll find it on a record and manipulate it to fit the beat. If I want 808s, I’ll take an old 80s hip hop record, and just sample it. I’ve always been sample based and try to keep everything from a record down to the drums. So I definitely see my record collection as part of my set up, if not the center of it.

RD: Your album Stashbox Chronicles just touched down, but I understand it was some time in the making. What obstacles did you face putting the project together?

DN: As I said earlier, I took a hiatus from music for seven years or so, and that included checking for new music too. I just lost interest, nothing was really motivating me as a fan or artist. Right before I stopped doing music, I lost everything. Every beat, every project file, and every sample, drum break I had recorded over the years was gone in a computer crash. When I started getting back into music just as a fan, it got me thinking of the beats I was making years ago. Luckily I used to make beat tapes for my brother in law and sister every week as I stated earlier. We would get up every weekend, listen to our new joints and chill. So after five years or so after I stopped music, I asked my brother in law if he had any of my old beat tapes. Dude kept everything! He handed me multiple CD spindles of just my beats. I ended up recovering over 500 beats and that’s what influenced the album and ended up being the project. No one besides maybe five people have ever heard these beats so they were new to the world. I haven’t touched on this much, but all the beats on Stashbox Chronicles were made literally 7-10 years ago…. That’s how I came up with the title, because they were beats from my stash. I wanted a vibe that fit that title too so it just worked out. In no way am I saying I was ahead of my time, but the beats just fit well for today’s underground sound. I was really strict with it. Even though no one knew these were all beats from years ago, I refused to use any new material. Besides getting the beats for the project, I didn’t have much trouble. I had to be patient on getting back some of the verses, but for the most part everything went real smooth. All the emcees handled their business like professionals. If I got the sense someone was going to be an issue, I just wouldn’t work with them. I had some equipment issues, and literally made the project sitting on the floor, no desk, using headphones. But I made it work. I’ve always used a minimal set up anyways. I was a little worried getting emcees of the caliber I wanted would be difficult since I came into this unknown and with really no credentials. Once I shared the vision and the beats, they were down to be guests. I kind of surprised myself on that. I had doubts about the project at times, and almost scratched it. Luckily I eventually said fuck it, and finally released it. The response has been amazing though. I never thought it would get the attention it’s getting which is really dope.

RD: Talk to us about the selection process for the guests.

DN: I started the project right when I started checking for new music. As I was discovering new emcees, I was getting those emcees on the project. I was going for that grimy, don’t let me catch you in a dark alley vibe. It was as simple as if I thought you were a beast, and your bars fit that vibe, I approached you. I wanted the best of the underground with this album, I wanted to make an impact. I didn’t want to just settle for whoever would do it. There was definitely a vision and having a sense that the emcees I got as guests would continue to elevate A good majority of the guests I got weren’t as known as they are today also. Because I sat on the project for so long, it gave some time for the emcees to be more well known. It wasn’t on purpose but it worked out. If I released the project a year ago, I don’t think it would have had the same effect. When you think of Stashbox, you immediately think of guns, drugs, crime, money, etc. I didn’t have to tell the emcees what direction I was going in, I think it was clear from the jump when I mentioned the projects name.

RD: This is getting some physical releases soon, how rewarding will it be to see your name and hard work on a tangible piece of music?

DN: That’s the goal, I love physical media. I collect movies too. I’m going to be real hyped when the album comes out. Le Daltonien from France did the artwork for the project. He did an amazing job so I can’t wait to see his art get used properly. Trevor Lang is handling the cassettes, and just knowing he wanted to be a part of the project in itself is rewarding. You see who he does business with. He’s the cassette king so I know it’s going to be beautiful. Trevor is a real ass dude. You see how respected he is, and it’s for a good reason. He’s a true hip hop head. Vinyl is being pressed up by Loretta Records. I’m truly hyped on the vinyl. Not only is it getting pressed up, but it’s being done by Loretta, which has been my favorite label for some time now. That shit is a dream come true to me. Having my album on vinyl and released by them, always wanted my music on wax. I was planning on pressing the vinyl myself at a point, but within hours of that decision,  Observe from Loretta Records offered to press it. Instantly down. I respect Observe and Loretta so much. It’s all love with Loretta. They do it for the music and culture first, always. The vinyl process takes time so it won’t be out for a few months, but I can’t wait! Between Trevor Lang doing the cassettes and Loretta pressing the vinyl, I couldn’t be happier. If there are two people or labels I want to work with, it’s them. So everything truly worked out. Throughout the process of making the album, I could always reach out to both of them for advice so it’s fitting they’re handling the physicals.

RD: You have an EP with your friend I.D., who has passed on. What do you want people to know about him and his music?

DN: The EP I released was just my way of paying homage to I.D. and reminding people how ill he was, especially those who didn’t get the chance to hear him when he was still here. It was made of previous material we had released and joints that were never released. Before I took my hiatus I.D. made a project with my production crew The Goonies (Nugz, LSD Clothes, Jon Woodring, & Sam I Am) called Produce Threats probably ten years ago or so. The project is straight grimy. I.D. was definitely that dude and highly respected in Rochester. He supported everyone and would be at every local show even when not performing. Trust me, if he was still around he’d be doing his thing and all the underground fans would be rocking with him. We weren’t that close, but my respect for him is 110%.

RD: There is a strong working relationship with Dart Unit founders Ralphiie Reese and Vinny Vindetta, what brought that about?

DN: I discovered Ralphiie Reese first right when I got back into hip hop, and started sharing beats on Instagram. Instagram is crazy, I feel like it’s responsible for this underground renaissance we’re in, and I’ve found so much good hip hop on there. Ralphiie had just released the Dart Vader LP I believe and I was instantly a big fan. Completely original down to the slang, which is what drew me in, and that goes for their whole crew. Crabskull, Professor, Vinny, Supreme Cerebral, all dope and original. From there, I’m not sure if Vinny reached out to me, or vice versa but he liked one of the beats I posted on Instagram and he did a joint for his project Golden Lord. I was gearing up for Stashbox Chronicles so Vinny and I didn’t start collaborating immediately outside of that. A few months down the road I sent him a batch of beats and he made Drunken Monk Memoirs: Tales of a Funky Monk. Dude knocked it out in a ridiculous time too, I wanna say he recorded the entire project in one or two nights. Naturally we did a sequel to it. Vinny is real independent too. I don’t have to do much work through the creative process. I’m cool with him doing his thing, and taking the wheel because I trust him and his process. I’ve only worked with Ralphiie for Stashbox Chronicles, same with Supreme Cerebral. Ralphiie and Vinny are my guys. They both know if they ever needed beats or what not, my door is always open to them.

RD: What’s the next move after pushing physical copies of Stashbox?

DN: I’ve got a couple ideas. I was thinking about doing a little EP with emcees made from the interludes off of Stashbox Chronicles. But I don’t have anything lined up immediately. I want to start focusing on really making beats again. I spent the last year or so working on the album, and connecting with heads that I didn’t make much beats wise. Most of the time was spent laying tracks down from the emcees for the project, but I feel like I’m in that space again where I’m really ready to start making beats again. I’d like to do a new project with just one emcee soon too.

RD: What’s your ultimate goal as a music producer?

DN: I simply want to make good hip hop music and have it be heard, hear my own joints on vinyl. Work with the emcees I respect and enjoy most. I can honestly say I do it for the love of making beats and records. I was never financially motivated. This album has met a lot of personal goals. It’s coming out on vinyl and cassette. I’ve been getting regular play on Shade45 on SiriusXM, radio stations in Europe, all the dope pod casts. That’s really all I ever wanted.

RD: Shouts for the good readers?

DN: Shout out to my wife and kids. All the incredible emcees that were involved with the project for making it happen. Le Daltonien and Trevor Lang for their highly skilled art and input. Shout out to LSD Clothes, DJ Ease, Sam I Am, Jon Woodring, Biscuit Tooth, my sister Erin. Gotta shout out my boy eNox. Dude has believed in the project from the jump and has shown nothing but love and support. The legendary Chris G, the godfather of Rochester hip hop. All the emcees and producers in Rochester. Dart Unit. Vinny, Ralphiie, Crab Skull, Supreme Cerebral. Soul Assassins on Shade45 with DJ Julian Ramirez & Ernie Medina. Those guys have been playing joints all month long. Huge shout out to Respect Due. You guys are truly the culture. Everything and everyone you guys cover is ill. I read all the articles you guys write. All the other pod casts and radio shows, and blogs. Fade Away Barber for his continued support, DJ Schame, Kxng Koopa, Cove and Rebel Radio, all the Buffalo heads. Cocareef, Southern Vangard, Insominiac Magazine. Observe from Loretta Records. Jordan Commandeur. And of course mostly the fans! So many people have been supporting and sharing the project. I can’t wait until the physical copies drop and get them in their hands! I know I shouted out so many heads and still missed some, but want everyone to know I truly appreciate the love and support, and their contributions to the culture!


Follow Nugz on IG @DJNugz



Keep tabs on Loretta Records page for Vinyl and for cassettes