Interview met Beats Broke Records!

Als er een platenlabel is welke heeft meegeholpen om Nederlandse Hip Hop op de kaart te zetten, is het wel Beats Broke. Het Amerikaanse label heeft zich bijna gespecialiseerd in artiesten die uit Utrecht komen, met een paar uitzonderingen. Momenteel kan je op Beats Broke muziek vinden van Arts The Beatdoctor, Inf, Skiggy Rapz, YaDamnSkippy, Kapabel, Max Fischer en Pax & Pry. Skiggy Rapz heeft zelfs de Grote Prijs van Nederland gewonnen (evenals z’n vriendin onlangs in de categorie Singer/Songwriter)! We hadden wat Quality Time nodig met label CEO Ryan Goeller, om ons te vertellen hoe deze opvallende samenwerkingen tot stand zijn gekomen:

- What is Beats Broke? How did it all get started?
Beats Broke is a record label based in Austin, TX. We are currently focused on releasing hip-hop records, but are starting to adventure out into other genres like electronic, funk/soul and even pop. The majority of our artists live in Utrecht, NL, though the rapper Max Fischer lives here in the US.

How Beats Broke started is all based around Max Fischer and Inf. Max had a friend who was studying abroad in Holland. Through a series of events, his friend met Inf and brought back his music to the US where Max discovered it. Max then got in contact with Inf for a colab and I helped logistically to make that happen.

As time progressed, we sought out Inf for more beats and became friends along the way. As his projects became more serious, so did we, and the label was formally launched to support both artists’ work.

- Why are there so many Dutch/European artists on your label?
The heavy Dutch influence is because Inf is so damn friendly and brought his friends on board. He did a record with Kapabel which needed a home, and we helped out. Then we got to know Arts The Beatdoctor (another one of Inf’s friends) and released an EP with him, meeting Skiggy Rapz along the way. Then Skiggy asked Inf about releasing a record of his through Beats Broke. The same held true for YaDamnSkippy!

I never went into this intending to exploit the Dutch scene. I actually like how it organically developed into a unique venture. I think that if someone is trying to work their way into our roster, the quickest way is to invite Inf over for tea and pass him some records. Heh.

- Let’s be honest, The Netherlands aren’t that close to Austin, TX and not that big on the globe, so tell me: how did all these Dutch artists got to be Beats Broke artists?
Like I said, it all goes back to Inf. None of this was planned, it just happened. We’ve become a great team, and balance each other out as we discover the delicate balance between what we like, what sells and what’s selling out.

One of the unique advantages is how we benefit each other by being so distant. It’s no secret that Dutch artists appear bigger on the world stage by being on a US-based label. In return, my label gets more interest from the press, distributors and fans for having European artists.

It’s basically “the grass is always greener on the other side.” A lot of US artists look to Europe for inspiration. I think Europeans (especially in hip-hop) admire the US in similar ways.

The obvious disadvantage is rarely being able to work in-person with my artists. Cultural differences can occasionally get in the way, however we’ve learned to quickly work around those (and the seven hour time difference).

- In what way is Beats Broke different than any other (Hip Hop) record label out there?
I think Beats Broke is different from other hip-hop labels because we release completely honest music that still knocks. Typically, that content in hip-hop comes in the form of “backpacker” records. Our stuff doesn’t sound underground or abstract.

Our sound is highly influenced by the Utrecht scene. They know how to make big commercial sounds, which hit hard, yet are simultaneously sincere. Just look at Kyteman or C-Mon & Kypski and you’ll know what I mean. Their music could be heard in a Hollywood blockbuster, yet it would retain 100% of its credibility. That’s hard to find, and I consider myself blessed to have friends who make such sounds.

- What’s the next big thing for Beats Broke in terms of music, artists, event?
I’ve been working with YaDamnSkippy! and his musical partner Daniel on their new electronic group Leadsmen. It’s tweaked-out electro with hard hip-hop influenced drums. It’s really aggressive, yet pretty. I’m excited to help release their new work, and to expose Beats Broke to the electronic scene. I’m not sure when that record will be out…hopefully in 2010.

We have a new 1-track digital single from Skiggy Rapz called “Talk To You Soon” available on iTunes since Tuesday, January 26th.

We’re also working with Arts The Beatdoctor on a new 12″ vinyl EP in March or April. The record will probably be limited to 500 units, and will include remixes by Yppah (Ninja Tune) and Xploding Plastix. The expanded digital version will be available for free on Arts’ website and Beats Broke.

Loose projects in the works also include a full-length instrumental from Inf (a follow-up to “The Go Round”), and a posible mixtape and album from Max Fischer.

- What’s your current view on today’s state of Hip Hop?
Hip-hop is definately hurting, as can be seen in any sales figures you see (independant and commercial). The economy hit a rough spot, and fans don’t buy music like they used to. It’s difficult when you can download any release for free within minutes. I’m guilty of it just like everyone else. The solution starts, though, when fans support artists again.

Creatively, on the independant level, hip-hop is still blossoming; in commercial markets it’s stagnent (as we’ve seen for years now). Hip-hop isn’t dead, it’s just under-funded. Major labels don’t want to risk money on a new untested sounds. I can understand from a shareholders point-of-view, but from an artist’s it can be frusterating.

My view of hip-hop is that it will always be around. It’s ingrained into our generation. We grew up listening to it, we’re creating it…it’ll keep happening.

Hip-hop as a career is different. Like any art, it’s a struggle. Older artists were lucky enough to live during an era where you could make some nice money. Over time, sales droped, and the feeding frenzy has subsided. Those same artists are now finding out it’s a whole lot of work for very little reward.

Artists with the love will keep on creating and progressing, while those in it for a paycheck will fall by the wayside. It’s a natural selection process. We’re always going to see peak and valley sales cycles, but the true artists will keep the genre alive.

- What’s currently playing in your iPod/iTunes/recordplayer?
I’ve found myself rediscovering a lot of albums I grew up with. Records like Das EFX’s “Straight up Sewaside,” and House of Pain’s “Same As It Ever Was.” I’m even digging up releases I missed the first time around like Illegal’s “The Untold Truth.”

As much as I love the early 90’s east coast sound, it wears thin and I need something new to re-inspire. Lately I’ve been listening to anything I can find released by Stones Throw and Duck Down. I’ve also been listening to a lot of Joell Ortiz’s “Road Kill” mixtape.

My Dutch friends have gotten me into Burial’s “Untrue,” and through that I’ve gotten into more electronic-focused hip-hop producers like Flying Lotus, and Dutch dubstep groups like Martyn.

- Any last words for your Dutch audience?
Your Euros go 30% farther when you shop at BeatsBroke.com. Take advantage of the weak US Dollar!