Born and raised Manhattanite Blockhead is both a staple of the underground and instrumental hip-hop movement, and has been for the best part of two decades now. Born Tony Simon to revered sculptor Sidney Simon, the producer started rapping at a young age but soon made the full-time switch to beatmaking not long after linking up with legendary underground lyricist Aesop Rock.
The two met at Boston University and Blockhead would go on to produce nine tracks for Rock’s first two albums, Float and Labor Days, which have since become underground classics. Blockhead has since been a frequent collaborator with his fellow New Yorker, as well as collaborating with other indie hip-hop giants such as Murs, Cage and Open Mike Eagle.
But more impressive than Blockhead’s collaborative catalogue is his prolific solo work. The life-long Knicks fan released four critically acclaimed instrumental hip-hop albums through UK based label Ninja Tune records. His most recent release, Bells and Whistles, was self-released in 2014 and the producer/DJ has since been on the road with the likes of Aesop Rock, DJ Cam, Amon Tobin, Bonobo, Kid Koala, Cold Cut and many others.
With Blockhead set to visit for his first Down Under tour in over a decade (dates below), we took the time to talk pizza, ’90s boom-bap vs trap, and hometown pride.
Welcome To The Home Of Pizza
It’s been 10 years since you last visited our shores. What do you remember the most about Australia from your last visit?
Honestly, not too much. I remember loving Melbourne. I remember the zoo in Sydney. And I remember eating tons of sushi handrails. In fact, that’s what I recall the most – I was obsessed with those things.
Preston in Victoria is officially home to Australia’s best pizza. Personally, my best slice I ever had was Di Fara’s in Midwood, Brooklyn. What’s the best slice you’ve ever had outside of NY?
Hmmm… I’ve had some great deep dish in Chicago, but I had some pizza in Italy that was the best pizza I’ve ever had anywhere. Crazy thing was it was a gas station. I didn’t even get to have the real stuff in the city, I can’t even imagine how good that must be.
If your music were a pizza, what would the toppings be?
This is hard, ’cause I know what I like on a pizza but it doesn’t have anything to do with my music. My music is made up of little parts of all these different songs and fused together, so I’d imagine a pizza version of that might actually be a little gross. Like an “everything but the kitchen sink” type pizza.
NYC Pride
You’ve spoken about your pride in NYC. Do you think that has an influence on your music?
I think NYC has an influence in everything I do, whether I realize it or not. It’s so engrained in me and part of my soul that I can’t imagine it not playing a small part. That said, I don’t know if it influences me directly. Like, my music is made of samples. If you think about it, I’m driven by what’s put in front of me. That’s a bigger influence than anything else.
Hip-hop artists have for a long time waved the flag for their city. Drake’s Toronto. Kendrick’s Compton. Andre and Big Boi’s Atlanta. Why do you think hip-hop artists are so moulded by their home?
Hometown pride is a real thing. Hell, even people from shitholes rep their city. It’s where you’re came up and it dictates a lot about you as a person.
Does hip-hop still live in NY or has it found a new city to rest its hat?
Hip hop lives on the internet, that’s about it.
Which NY borough has the best hip-hop in your opinion?
Probably Queens. I feel like Brooklyn has more great artists, but Queens has the best of the best. Manhattan (where I’m from) is a distant fourth, sadly.
I am not ashamed to admit I got suckered into overpaying for some cat’s mixtape in every borough. What’s your favourite mixtape you ever copped or were forced to cop on the streets of New York?
I have never bought a mixtape I didn’t want. I’ve honestly never been a “buy a mixtape on the street” kinda guy. I always downloaded them or borrowed good ones from my friends. Not to mention, nowadays, people make albums and call them mixtape. The only mixtapes I can think of me owning are old Doo Wop and Tony Touch tapes from way back in the day.
The State Of Hip Hop
Do you feel like the digital age killed the mixtape or reinvigorated it?
Well, like I mentioned above, it more just changed what we consider a mixtape. I certainly don’t miss DJs yelling over tracks, and scratching some song I just wanted to hear be left alone. I don’t think anything has been killed in hip hop, it’s all just been evolving with the times.
Do you feel the politics of music these days is driving kids towards focusing on having a hot sound over finding their own voice?
I don’t know if it’s politics or just laziness. Creativity and authenticity are no longer things the younger generation care about. There’s a definite follow the leader thing happening but, then again, it’s always been like that. The only difference is not that it’s more blatant that ever. Like, a dude will sound EXACTLY like another dude, and people will shrug their shoulders. In the ’90s, that would have been career suicide.
Do you think hip-hop is naturally progressing, or is it either throwback wanna-be ’90s shtick or autotune trap mumble rap?
It’s all progressing. Every facet has come from something before it. The throwback stuff is actually some of the more eye roll-inducing shit to me, ’cause why try and capture a sound that was done so well? Sure, pay homage. Take elements of it and add a new spin on it. But to just try and copy that sound just shows a lack of growth and creativity.
On that note, is hip-hop now a young sport, or was it always?
Popular hip hop will always be a young man’s sport. But the more abstract stuff can be done well at any age – as long as the inspiration is there. Look at dudes like Aesop, KA or Run the Jewels. These are all 40-year-old rappers making extremely relevant music.
Beatmaking
I’d say one of your staples is a masterful use of vocal samples as instrumentation, is this a signature you decided on early on or did it just organically develop as part of your style?
Well, it’s a little of both. I’ve always liked vocal samples and I don’t really listen to much instrumental music, so I tend to add those vocal samples ’cause it makes the song feel more like a song than just a meandering beat. But, at same time, I do like to try and use the vocal samples like an instrument. The actual words matter less than the sounds, a lot of the time.
How has your creative process changed or adapted over the years? Is it a case of wishing your 20-year-old self knew what you know now?
I’ve just fine-tuned my sound, I think. As I’ve gotten older, I’ve strayed away from things that seem “easy”. My earlier beats were made up samples I found in my mom’s record collection, and dollar bin stuff – lots of jazz and opera. I grew tired of that kinda stuff and evolved into just seeking out the weirdest things I could find and making them melodically work.
Another change has been how much I use Ableton live in my production. I started really delving it around the time I made ‘The Music Scene’, and it changed how I make songs entirely. I went from typical verse chorus, verse chorus, to songs that start at point A and end at point A – like a story through song. I don’t think I would tell my 20-year-old self anything, ’cause I like how I’ve matured over the years. I’ve been through many stages, but also kept the same mindset of what I wanted to do.
There’s a real cinematic movement to your instrumentals. If you could do the original soundtrack for any movie, past or present or future, what would it be and why?
I think my music would work best in a movie that moves a lot but also has a more sombre tone. So… I’mma go with Macgruber. Not ’cause it makes sense, but cause it’s the best and that would be hilarious to do.
You still use your ASR-10, and have said it’s because you’re lazy, do you think if you were struck with lightning tomorrow and had infinite knowledge on how to use every sampler you’d still use the old faithful?
Honestly… probably not. It’s an old machine and has its limits – I barely use it nowadays. Ableton pretty much fills all the needs I could have, and it doesn’t need floppy disks to work.
Have you ever experimented with the popular sound at the time?
Eh… very little. I’ll dip into nuances of current sounds or, if I’m into a sound, I’ll dig a little deeper. But I never think, “oh, that’s what’s hot now? Lemme do that…”, ’cause I know how fleeting all these musical fads are. I’d rather stick to my guns and try and make something timeless than pander to people who won’t stick around when the next wave rolls in.
Connecting With Fans
You’ve really seized social media as a method of communicating with fans. Do you think SM is just as important as recording and performing for the modern artist?
Not at all. Sadly, it’s something every artist HAS to use. To me, the music is far more crucial, but with record labels taking a back seat, the artist is forced to be their own promotional team. Luckily for me, I don’t mind it. I like making jokes online and interacting with fans. Sure, you come across some lunatics and assholes, but most of the feedback and interaction is pretty cool.
Your blog illustrates that you clearly have a lot to say. Do you feel like that character comes through your music?
Very little. I’m a pretty silly and carefree guy, but my music is generally more serious and emotional. My blog is way more like me than my music. But, as it should be ’cause it’s the written word. music can only allude to feelings, while words are direct. There’s some quirkiness to my music that’s akin to my personality, but nothing compared to when I’m ranting about some dumb shit on my blog.
Podcasting has become the new blogging, have you considered starting a Blockhead Podcast, and any ideas off the top of your head for a title? I’d like to suggest Blockcast…
I actually had a podcast with a home girl of mine called “The Rogglecast” – it’s on iTunes. We basically just talked about current events and sex stuff, it was fun. We did 25 episodes, but she moved to California so it had to come to a close.
You recently posted on your blog announcing a semi-retirement from mashing the keyboard, declaring you’d run out of shit to say. Do you feel like that time will come with your music?
I think about that sometimes, and I’d imagine, in some form, it will. I’ll probably lose the desire to make music at some point and just fade into obscurity. I never wanna be one of those 50-year-old rap dudes who clearing doesn’t care, just making music so I can tour. Or, even worse, the type who tried to rehash my most popular sound to pander to the old fans.
Blockhead isn’t done yet, however, and you’ll be able to catch his legendary sound when he hits our shores this weekend, dates below.
Blockhead Australian Tour Dates
Friday 16 September
Transit Bar, Canberra
Tickets
Saturday 17 September
The Casbah Lounge, Cairns
Tickets on door
Saturday 24 September
Manifest Festival
Cherrabah Resort, Elbow Valley, Queensland
Tickets
Sunday 25 September
Manifest Festival
Cherrabah Resort, Elbow Valley, Queensland
Tickets
Friday 30 September
Manifest – After Party
Rumpus Room, Brisbane
Saturday 1 October
Whomp ft. Plutonic Lab
Corner Hotel, Melbourne
Tickets
