Buzzin Interview W/@_Dnme

How did you first become a
recording artist?

I
would say my recording career commenced around 2001. I was still in high school
at the time, and there was one individual who would always be freestyling in
the cafeteria. Some of the stuff he was doing was written, but it intrigued me,
so I guess that’s what infected me with the “rap bug,” so to speak. Shortly
after I remember asking myself, “I wonder what I would sound like rapping?”
That was the moment I started formulating my own lyrics. I actually started
recording within that same year. Despite not having any recording experience, I
still went to a professional studio to record songs. I picked up basic
techniques as I started to record more but at that point and time, I was very
green in the art of rapping, let alone recording. I slowed down drastically to
perfect my writing as well as my freestyling. I thought it was illogical to
keep recording below-average rhymes. I figured once I developed a bit more I
could start recording more meaningful records. Years later, I made one of the
best decisions of my life and that was purchasing my own studio equipment. That
really helped shape me from a recording standpoint, because as I started to
enhance lyrically. I wanted to record as much as possible because in a lot of
instances, a rhyme can look good on paper but as soon as you go to record it,
it doesn’t come out the way you thought it would. Falling into the habit of
recording at my convenience definitely played a huge role in my growth as a
recording artist. As I started becoming comfortable on the mic, I really
developed an obsession with being perfect in terms of timing and enunciation. I
would record material a million times until it came out the way I envisioned
it. I find that I went through various phases, and throughout the years up to
this point I worked on developing different aspects of my craft. I remember
focusing solely on multi-syllables for a couple months then I would move on to
similes, metaphors, etc. Not to sound cliché, but I was and still am very much
a student of the game.

Are you currently with a record
label?

Yes,
I just signed a $4.5 million deal with Def Jam Recordings [Laughs]. I’m joking.
I wish I could see the look on every single reader’s face right about now. As
of right now, I have been receiving offers and been in meetings with various
major labels, but I am making sure I get involved in the right situation.
Everything has to be correct. This is not a decision of should I get onion
rings with my meal or should I go with fries? This is something where you
really have to assess all the variables, people, and different aspects that
will be ultimately be involved with the springing and future of your career. At
the end of the day, this is a business. The musical portion is very minimal, so
the business aspect is not something you take lightly. There are a lot of
things that I have to consider before I sign a recording contract. It goes way
deeper than just the recording budget a label presents you with. There’s a lot
more to it, so at this point I’m reviewing all the situations as well as
waiting it out and seeing how things transpire from here. The labels are
starting to pay attention, so I hold the cards.

 

Where are you currently based?

The
likable answer would be Toronto. I say that begrudgingly because the Toronto
“hip hop” scene is atrocious. I’m not going to get into why I have gripes with
Toronto’s hip hop scene because it’s pretty self-explanatory. So what I will do
is alter this question and answer it as if you asked me “What city did I get my
start in?” To be honest with you, I really started building notoriety in
Brandon, Manitoba; it’s about two hours outside of Winnipeg. I was actually
living out there for a good year or so, and within that time frame I was doing
shows alongside another MC known as King Klutch. He’s made a really good name
for himself out there. We were based there for a while and eventually we
started expanding and taking our music to places such as New York, California,
and Miami. Brandon doesn’t have a huge market for hip hop, but the people there
show a lot of support. They really base their assessment of an up-and-coming
artist on the talent and quality they present. That’s why I constantly
reinforce the fact that I owe a lot of my early success to that place and, more
importantly, the people in it. I gained a huge amount of confidence mainly
because of the shows and experience I gained from being there for such a long
period of time. I occasionally go to Manitoba, more specifically Winnipeg and
Brandon, from time to time and usually it’s to complete a project with King
Klutch.

 

What project are you promoting
now?

As
of right now I’m promoting my new line of headphones because it’s part of the
mold now to have your own headphones. So I’d like to plug those right now
[Holds up a pair of broken headphones]. I’m selling them for $4,000. No, in all
seriousness I’m currently promoting three singles from my upcoming project
entitled The Anti-Establishment EP. This EP will consist of five original
tracks, and they were all made for the purpose of being released as singles.
The three singles “Put It On Me,” “Against The Wall,” and “Insinuate” are all
currently available on iTunes, as well as various outlets online. I’ve been
receiving a lot of positive feedback from those records, which is great. But on
the flipside of things, it’s a bit difficult to choose one single because as it
stands, those three songs were received really well by the general public. The
[full] EP will be available soon, due to the fact that I’m still in the process
of putting the final touches on a couple of things.

What can listeners expect to
hear from your music?

Quality,
lyricism—REAL lyricism—and carefully thought out records. I usually like to let
the music speak for itself; I learned that from DJ Drama. But I will say
individuals who appreciate music sonically as well as compound-syllable rhyme
schemes will definitely grow attached to the material I’m distributing. The
main thing people can expect from my current projects as well as my future ones
is variety and unpredictability. I am totally conscious of how I construct my
material, so I try to alternate my beat selection, rhyme character, content,
and flows as much as possible. I am aiming for longevity. I appreciate artists
who can come out with an album and leave for a substantial period of time and
then return with another astonishing piece of work. I want to be the artist you
anticipate a release from. Not to tarnish anyone’s current format or way of
putting out music, but I operate totally different when it comes to that. My
intention is to make timeless music, so that means I’m going to be constantly
go over things, and make sure it’s right before I put it out. All it takes is
one dissatisfactory track to have people look at you as a sub-par artist.

Are there any artists or DJs
you’ve been working with, or would like to?

I’ve
built relationships with numerous DJs over the last few months. I’ve been
featured on a large number of mixtapes by DJ Whiteowl, DJ Drama, DJ NYCE, DJ
Sound Off, and of course a great portion of the Coast2Coast DJs have also
featured my music on their mixtapes. I also got hooked up with DJ Green
Lantern. I was able to get placement on his upcoming project where he will be
featuring various unsigned acts. I’m putting this out there right now: I want
to and WILL work with Gladys Knight. I’ve already envisioned it, so it’s going
to happen. The reason I’m saying this is mainly because that’s how far I’m
planning to take my music. When I say “timeless music,” I mean it. I am trying
to separate myself from everything and everyone that is currently out. I can
enjoy a 50 Cent record because his sound is totally different in comparison to
mine, because as artists we are polar opposites. For the most part, a great
artist’s music is like their world, which means when I go to purchase a record
I’m expecting their world to be different from mine. Of course artists might
take ideas, concepts, and melodies and make them their own, but that’s as far
as it should go. Every artist should be different. I’m conditioned to separate
myself from the norm.

What have you been doing
career-wise for the past few months?

In
all honestly, I’ve been isolated in the studio as well as saturating the online
market with my music. I stayed focused on creating material. With regards to
the thought process, I wasn’t extremely meticulous. I really just let my
thoughts run rampant with little restriction. It just so happened that The Anti-Establishment EP manifested
from my period of time in the studio. Now that I’m in the cycle of promoting a
project, I’m actually moving around a bit more. I came to Miami for the
Coast2Coast Convention as well as to bring more awareness to the singles and
the EP. But I’m ultimately looking forward to getting back in the studio and
creating new music.

What are your career plans for
the rest of 2011?

I’m
going utilize a considerable amount of auto-tune on my next single and look for
a major rapper’s co-sign, because my career desperately depends on it. I think
with the right co-sign I will skyrocket into super-stardom and sell out
stadiums [Laughs]. I’m sorry I have to stop doing that. For the remainder of
the year I will be definitely working on a new project. I have a lot of ideas
that didn’t make the EP, not because they weren’t up to my standards—I really
just left them for the next project.

Have you done or are you
planning to do mixtapes in the future?

I
have been featured on various mixtapes and I definitely will always use them as
a tool to generate attention to any music I release. In respect to my own
mixtape, I’m in the process of constructing it, and making sure everything
comes together the way I originally envisioned it.

What is your opinion of the
mixtape game and market?

genuinely love the mixtape market for the sole fact that I am able to say a lot
of things that would not be permitted in an album situation. One of the first
mixtapes I was featured on was “Coast 2 Coast Volume 166” hosted by Akon. Just hearing the final product with the DJ’s
influence was exciting to me because I was able to showcase my attributes as a
rapper. I like the fact that you have to show and prove yourself to receive a
mixtape placement. DJs always have to hear the material first and I respect
that because even though the music is of lower quality, from a sound aspect,
you still have to be able to show a strong amount skill to even get the DJ’s
attention. Every DJ that has featured my records has pulled my card, and I show
and prove like no one else. I think the mixtape market is very beneficial to
any up-and-coming artist such as myself, because you never know where the music
will end up. But rest assured your material will get heard and you will garner
a large amount of attention from being featured on mixtapes.

What’s your opinion of the
music industry as a whole?

The
music industry generally affects everyone differently depending on how they
navigate their career upon entry. If you’re a person who can’t adapt to change
or enhance your music, your career will self-destruct. On the other hand, if
you’re attentive, you’ll be able to survive and see more fruits of your labor.
You have to be alert in this industry. Everything can be a gigantic blur, so
it’s mandatory that you keep a sharp eye when you start really getting involved
in this business.

Are there any other ventures
you want to let our readers know about?

I
don’t want to give away too much information at this point about future
ventures. So for now, a huge, I mean large and in charge, record label is
asking me to ghostwrite for one of their most viable artists. I’ll let the
reader decide if I’m lying or not.

Anything else you’d like to
add?

Ok
this is going to sound like a VMA speech, but I have to thank everyone who is
responsible for getting me to this point in my career. First and foremost, I
would like to thank my mom for helping me and supporting me and, most
importantly, allowing me to go as far as I intended to. Without you, this very
interview wouldn’t be taking place. Your support is limitless. I have to thank
my best friend Romel for sticking it out with me—whether right or wrong, you’re
the ONLY one who stuck around. A very special thank you to my girlfiend
Jaqueline—thank you for understanding my career and staying with me through the
lower points. I also want to thank my long time irreplaceable friend Dimitra
for constantly supporting me and telling people that my existence in music was
inevitable. Jonny P, thank you for believing in me for over seven years. King
Klutch, thanks for getting me out of the most lethargic city and introducing me
to a new world; we’re getting closer. I would also like to thank my marketing
team, Lead Alliance. I also want to give a special thank you to Mike Downey and
Adrian Smith for all of their contribution and support. Flakes, IT’S GOOD TO BE
BACK TO BUSINESS! Now that you’re re-focused, don’t stop. I see it in your eyes
now. You know what’s at stake. George W (Not the former US President. This is
actually my producer’s government name.), thank you for building me up. Thank
you for making me someone when no one else would. Paul E. Dangerous, thank you
for doing my videos; you made me look good. K.D.B I owe you—I hope things clear
up so you can rightfully solidify your spot this industry. Thank you to
EVERYONE in Brandon, Manitoba as well, there’s a lot of you so please forgive
me for not thanking you all individually by name. Thank you to my friend who
keeps me grounded, Edgar B, I’m privileged to have you as a friend. No one can
ASSASSINATE your character when I’m around. Henry, you drive me crazy but it’s
for a greater cause. Thank you for actually telling me I’m the best. Natalie B,
thanks for getting to know the real me. Jenny A, thanks for the support.
Finesse, that city doesn’t deserve your talent. Thanks for helping me “switch
my flow” and keep doing you. Sean Gillz aka Gillo and the whole Thoroughbred
family, my support for all of you is never-ending. Pierre, your support is
greatly appreciated, believe me. Jay Santos, thank you for doing it for me word
of mouth style. Trisha Campbell, I can’t forget you for blowing me up. Thank
you. All the DJs who have supported me: Whiteowl, Drama, Green Lantern, NYCE,
Sound Off, Young Cee, and Doo Wop, I owe all of you for everything you’ve done
for me on the mixtape level. All the producers who helped shape my sound or
added additional production to any of my projects from Sinima to Famous to Gino
to Blanxx to Kajmir Royal, thank you. Norm Barker, I’m glad I was granted the
opportunity to work with you since I was 16. Tom Garder, thank you and I hope
you know by now that you’re the ONLY one I go to in NYC for vocals, period. The
Cutting Room Studios in NYC, thanks for the hospitality and the
professionalism. Josh, thank you and don’t quit because music needs you. Cory
M, you predicted my ascension before anyone and you taught me what I know. I’m
grateful for everything I’ve learned from you.
Mike M, thanks for being honest with me. Even though you know deep down
everything I do is golden, I’m joking. Kasey, Rodman, and Nate, thanks for the
support and also for letting us “murder” you guys at the “King Me” videoshoot.
C-Dawg, thank you for your past and present contributions. Insinuate wouldn’t
have been the same without you. Kirsten Rae, you made my next single timeless,
thank you. I would also like to send another special thank you to anyone who
has ever bought or supported my music despite not knowing me personally. It
means a lot. I want to thank my cousin Lindley B, his wife Joanne M, and my
cousin Austin for constantly being interested in my career as well as
supporting my every decision. Last but not least, thank you to Lil Fats and the
whole Coast 2 Coast coalition for inviting me out to Miami and issuing me with
the opportunity to become someone relevant in hip hop. Because lord knows I would
have been a grandfather by now if I had actually waited for the same kind of
admiration and support from that place I’m from.

Where can we find you online?

You
can find me at www.DNMEmusic.com. That’s my official website. You can also find me on various Coast 2
Coast mixtapes. I’m on the cover of a few, so I shouldn’t be hard to find.

 
Click Here to Listen
D’nme – Put It On Me