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Unsigned518 - Episode 152 - Sime Gezus · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves Far Cry music. The 19th jabbing in the dazzle jazz it's motherfucking Andy scolding. Look at motherfucker. Cause here he comes Andy SC wearing his orange hat.
• 0:27
  Speaker B: Welcome to unsigned 518. I am sitting here with Sign Jesus. How's it going, man?
• 0:33
  Speaker C: Oh, it's going good.
• 0:35
  Speaker B: And you know, we connected because I heard Luna. Well, I heard. I reviewed Lunatic Monster and for Metroland. And I was so, like, super impressed. I mean, you can tell in the, in the review, like. But I just wanted to tell you before we got going just that when I review the albums, I do them as I'm listening to it. I don't listen to it and then listen to a second or third time and then write it. I write what I'm hearing. First impression. And I've listened to it probably, I don't know, eight or ten times since the review.
• 1:14
  Speaker C: Nice.
• 1:14
  Speaker B: And it's only gotten better. Like, I was listening to it today and I was just like, man, this is really fucking good. Because for me, like, I. I'm not, you know, much of a hip hop head, but I was back in the 90s, you know, like the early 90s and shit. And it has so many elements that while not like directly like that, it made me feel like that. So I just wanted to give you.
• 1:40
  Speaker C: Props on the album.
• 1:43
  Speaker B: It's so fucking good.
• 1:44
  Speaker C: Thank you.
• 1:44
  Speaker B: And now we can get on with it.
• 1:47
  Speaker C: But so thanks. Thanks for having me again.
• 1:50
  Speaker B: Yeah.
• 1:50
  Speaker C: And no doubt.
• 1:52
  Speaker B: But I guess what we want to do, you know, I said we want to just kind of get conversating, but I want to, I want to allow you to give like your, I guess, origin story or backstory or kind of pick it up wherever you want and we'll just, we'll just get going. I want to hear about the man behind the music.
• 2:11
  Speaker C: Excellent. So, yeah, let's take it back to maybe when I was 10, 12 years old, like, grew up in a religious household and had all types of just local church tapes of the pastor and would tape the radio stations. 88, 391 5, DJ Toast shout out to DJ Toast was rocking way back then still. And I didn't have turntables, but I had a karaoke machine and like a Sony tape recorder type thing. And we kind of use that as turntables. Like one mic came with the karaoke, one came with the recorder. So we kind of just record and make mixed blends off of that. Like pause instrumentals of like Red man with our local Pastor Jack preaching and stuff and run it back and mix it. And so I always kind of was into just like weird stuff. Not weird stuff. Blends with what I could. My sister had worked at WGY at the time.
• 3:27
  Speaker B: I used to work at wgy.
• 3:29
  Speaker C: Okay, you remember Myrna Lamb? I think her name was.
• 3:32
  Speaker B: I'm not sure. Like, I go way, like, what. What year are we talking here?
• 3:37
  Speaker D: Oh, I was 20.
• 3:39
  Speaker B: Oh, no, I wasn't there until like 2000, 2006 or seven.
• 3:44
  Speaker C: Okay.
• 3:44
  Speaker B: Yeah, I think I was here like 2006 to2011. Ish. Like that little five year window.
• 3:50
  Speaker D: All right, all right.
• 3:51
  Speaker B: So that would have been. Would have been after.
• 3:53
  Speaker C: Yeah, yeah. So she would bring me to the station and while she was working, I'd be off in a room like playing with the sound effects and the vocal stuff. I messed it up a couple times. Just loved hearing it. And. Yeah, so from there, wasn't really writing, but got into more beat production software, computer software. Then like my junior senior year, I got turntables and from there really got into making beats.
• 4:31
  Speaker B: Now do you think, you know, because you were saying how you were like using a karaoke machine and a little Sony recorder, like it's a theme that comes up a lot is that I think just working with what you have first and then, you know, and then progressing into like a more sophisticated way of doing it is the way to do it fucking hands down every single time. Like, because you go in like as soon as you were like. And then I got the turn to. I'm like, well, yeah, once you get the right equipment and then. But you've already got this, you know, way of doing it.
• 5:07
  Speaker C: Right.
• 5:08
  Speaker B: I love, I love hearing about shit like that.
• 5:12
  Speaker C: The samples, most of the projects I put out have just little obscure clips and I would record those right off the tv. Terminator and et. All of that flagship when the movies were good. So sample heavy is a big thing and part of my production, just little clips here and there. Some of my favorite artists are like Mad Lib, Quasimodo, if you're into that. Dilla, rza, probably my favorite producer.
• 5:51
  Speaker B: Yeah, that's what it reminded me of. Like, you know, I remember like the. The Shaolin clips in like the, you know, enter the 30s exchanges and like, shit like that. And that's like, it. A lot of it reminded me of that. Like with the, you know, the Sam. The samples like that. But also like bringing like the jazz and the piano and was like Tribe Called Quest coming in and like, you Know, there was like, those things and then there was like, I don't know, the. I mean, obviously, you know, the influences, but that's the. That I locked right onto. And the more I listened, I was.
• 6:27
  Speaker C: Like, oh, yeah, right. So that came just from, you know, being curious, putting music together at a young age and was old computers. We had one computer in the house. And thanks to siblings, my pops, for letting me hog it all the time. But this program called EJ Hip Hop. EJ was pretty cool. Real cheap program, probably 20 bucks. And that kind of was like, oh, shoot. So mixing some of that with the software was like, okay. Because when I had the tables, I didn't have, like, a sampler. So I was trying to spin the samples freehand for like three minutes or whatever and get it. But, yeah, just fell in love with making beads. Spent summers just in the basement. I was perfectly content with not leaving the house, you know, sometimes still.
• 7:34
  Speaker B: Right. I mean, look at where, you know, I've created a space in my house so that I don't fucking have to leave my house. I can do it all right here. And actually, you can't see it. It's hanging right there. But I can turn this room into a movie theater in a matter of, like, six minutes. I can have this. I can. Boom, speakers, everything. So I definitely feel that. So when you're making a song, is it something that, like, when do the samples come in in the process? Because, like, I liked, like I said as I listened to it, picking out the samples and what they, you know, you're not just arbitrarily using. They're for the song.
• 8:18
  Speaker E: Right.
• 8:18
  Speaker B: But, like, what part of the process did the samples come in?
• 8:22
  Speaker C: Usually after the song is made. But, like, if the beat is made first, it might already have a sample on the beat. But I'd say the majority of the samples go after, like, the songs made.
• 8:39
  Speaker B: And they, you know, I'm not wrong in assuming that they have a meaning to the song.
• 8:44
  Speaker C: Yeah, definitely. For the most.
• 8:46
  Speaker B: There were some that were clear, you know, that I was like, all right. But I. I love that, you know, as someone who consumes pop culture like that. I found being like, I'm going to figure out where that sample's from. I'm not going to look it up. I'm going to figure out where it's from. I recognize that, but so good. So, you know, we're talking now. You've gone from, you know, using the karaoke machine, transitioning into turntables, and then once you get computers into it, yeah, it's a whole new thing because like, if people don't understand what you're talking about when you're talk. Talk about spinning, you're trying to beat match and like do all that manually, which is, you know, it's hard. And now you can kind of let go of that burden for sure.
• 9:34
  Speaker C: But sometimes, like I still use SP606 and like I like doing live time with the samples. So there's an easier way to make beats with the sp and I prefer just doing it live time. It's crazy, it's kind of backwards. But I think that comes from just having that raw like. I kind of like the offbeat timing just a tad bit. It gives it a little more.
• 10:10
  Speaker B: A little more soul.
• 10:11
  Speaker C: Yeah, yeah, yeah. So I kind of prefer that still. Even though with the modern, you know, you can quantize.
• 10:19
  Speaker B: Oh true.
• 10:20
  Speaker C: Yeah, you can have it right on the money. But I kind of like it just a little bit, you know.
• 10:27
  Speaker B: Yeah. And I mean that's just like. Even with like, you know, normal band or like, you know, not normal, like punk bands or whatever that like might play to a click track, there's those that don't and you can tell, you know, because they're like. There's a little more, you know, just like a little more something to it. And it's a skill to be able to play to that click and still give it the soul, you know, like which, you know, it's a. It's a tough thing. Yeah, I get that. I like the going in a little. Little free with it.
• 10:58
  Speaker C: Oh my goodness. Yeah, dig it.
• 11:01
  Speaker B: And so what year, you know, now that we're know, into computers, you're making beats, you're spending your summers like at what. What year did you start like releasing music?
• 11:15
  Speaker C: The first project was in 2000. Like I was going to.
• 11:21
  Speaker D: It was called Masscom College and had.
• 11:25
  Speaker C: Met up with this guy, kidstar Boston resident and we did a little. He did a project, I produced it that was in 2000, was like the first, I guess, release. You could say I was just going by Sym G at the time. And from there I kind of just was making beats and getting to know different MCs the area. I didn't really release anything until. Oof. Shane from Super Dark.
• 12:04
  Speaker B: Yep.
• 12:05
  Speaker C: Like we linked up in probably 2005 ish with some guys and started putting projects out. I'd say around then was like the first demos and yeah, I sent my first demo shout out to Sev Static on a tape cassette and yeah, I'd say about 05 06. If it's the first time. Yeah.
• 12:30
  Speaker B: And you don't just produce stuff or, you know, make beats for yourself. Like you were saying, you linked up with other MCs, so, like, you do a lot of.
• 12:39
  Speaker C: Right.
• 12:40
  Speaker B: Stuff for other artists, Right. Collaboration, definitely.
• 12:44
  Speaker C: And also, like a lot of guys, I'm rhyming over a ton of different producer stuff too. So it's endless Beats. Going forward, I'm hoping to do a little more of my own production, produce full projects. But so many beats and dope producers. It's, you know, it's a collective. Yeah. Oh, my goodness.
• 13:10
  Speaker B: Well, I think we should probably play a song. Which one do you want to play first?
• 13:17
  Speaker D: Let's play Ain't around to See It. Featuring B. Austin.
• 13:23
  Speaker B: Oh, I know B. Austin. Yeah, I think I mentioned him in the article. Yeah, he's been on the show.
• 13:29
  Speaker D: Word off Lunatic Monster streaming everywhere now Sign Jesus.
• 13:35
  Speaker B: Let's check it out and then we'll be right back to talk some more signs it rained the day of the funeral we stood around her grave under black umbrellas.
• 13:48
  Speaker F: How many life all about progress yeah I showed these boys what to do with it Even if I'm broke I'll be stunting in the new fitted 12 interrogating N we don't know who did it From Kia soul to a farm with the roof missing they used to clown I smile with my tooth missing need to go harder cause my mama need a new kitchen in the stew Whipping everything we do Hitting like judge Young boys on the stoop pitching Garrett Cole gas got me paranormal Balenciaga's ugly just the J's I'll take a pair of those jeans and Mary headband loose joints run that game on holes off the bench 32 points gave a D rose D rose Grinding all my life it's only right that we see only right Paid agents, haters act like co's awesome Cops your bitch on my Good things come to those who be waiting right Shitty job in the morning I lay awake at night Watch your back Judas try and take your life Keep moving four of my niggas and get your paper right Good things come to those who be waiting right Shitty job in the morning I lay awake at night Watch your back, Judas try and take your life Keep moving forward my niggas and get your paper.
• 15:09
  Speaker G: Ride patience the virtue my dude it's true I'll never be upset about the things that I go through Grinding with the pain Once in a while you see me smile Fuck the fame those Lames switch up when I come around Good things come to those that be working Never Skip a beat 16 years I stayed strong Me wee in too deep I rep the 518 till I die in the source community it's all timing with the power knowledge I'm staying wise I can't lose I choose to win with God on my side all my niggas dead or in jail from slinging pies I pray my brother never commits suicide Cause this life can give you battle scars with wars within Temptation from these battles no juice just gin Women with pretty skin want more than some ends with patient determination Discipline in the world to win Good things come to those that be working Never Skip the beat 16 years I stay strong Me and time GS we in too deep I rep the 518 till I die in the sauce community Good things come to those that be working Never Skip the beat 16 years I stayed strong Me and time G's wheat in too deep I rep the 518 till I die in the sauce community.
• 16:36
  Speaker B: All right, that was Ain't around to see it featuring B. Austin from Sim Jesus. And that one is off Lunatic Monster. And if you would like, you could go to themetrolands.com and read my review of Lunatic Monster. I obviously thoroughly enjoyed it, but. So that was a collaboration with B. Austin on that track, but there's other exciting and cool collaborations on there as well.
• 17:02
  Speaker D: Absolutely. The track Unlocked Film with Bastard Sorcerer AKA Shane Sanchez, Super Dark, Shout out to Super Dark, AKA Sunburdens. He's got more AK aliases than Me. Witch Doctor, Psychiatrist, Sushi Chiva, AKA Scissorhands. But anyway, Unlocked Film came together really quick. Made the Beat One night, sent it over to him. I think I might have had my verse already ready.
• 17:36
  Speaker C: And he sent his back quick.
• 17:38
  Speaker D: And Shout out to Shane Bastard Sorcerer. We got about seven, eight, nine tracks we're about to release at some point. Real rough, gritty, raw. Sounds like it came out of a four track rough recording. And he kind of digs that. Sound like it kind of fits the super dark. So definitely check for that.
• 18:02
  Speaker B: And that is not out yet or is out yet.
• 18:07
  Speaker D: Not out yet. A couple singles on the loose joints collective.bandcamp.com Blick at you and.
• 18:19
  Speaker C: Shoot to be free.
• 18:20
  Speaker D: Those two singles are out by Sign Jesus and Bastard Sorcerer.
• 18:25
  Speaker C: Yeah.
• 18:25
  Speaker D: So if you like Unlocked Film off.
• 18:28
  Speaker C: Lunatic Monster, go to the Loose Joints.
• 18:31
  Speaker D: Bandcamp page and there's a couple more singles that are fly.
• 18:34
  Speaker B: And then. So who else was on Lunatic Monster?
• 18:39
  Speaker D: That was it. For MCs but producers, a vast variety.
• 18:47
  Speaker C: My goodness.
• 18:48
  Speaker D: Myself, Isaac, Nobeat, L, Sphinx, Lo Fi, Samurai, Gio and two features, Ryman B. Austin, Bastard, Sorcerer.
• 19:02
  Speaker B: And that is available now everywhere that.
• 19:05
  Speaker D: You can get all streaming sites. If you want to get the digital copy on Bandcamp, that's available too on the loose joints collective.bandcamp.com site.
• 19:16
  Speaker B: And then you were talking while we were listening to the song. You were saying there was another collaboration that you'd been working on.
• 19:24
  Speaker D: Yes. MC Slow Pace down with Happy Pollen Music Shout out to Slow Pace J Burns J Boom Squad we released right before Lunatic Monster. I had a little short EP called Cut to the Chase. Three tracks, Slow Pace, J Burns J Out of Jersey and Boom Squad and myself. And that's available right now on the Loose Joints Band Camp. Definitely check that out.
• 19:55
  Speaker B: Yeah, and I'll. I'll link on the show notes for anybody listening that they can just click on it and it'll take you to the Loose Joints Collective Band Camp. Make it. Make it easier to support music, you know what I mean?
• 20:09
  Speaker D: No doubt. Thank you.
• 20:10
  Speaker B: So what else is coming down the pike now at this point in the story, you've started with the karaoke machine leading up. And again, for anybody listening, I can't stress it enough, don't wait for fucking lessons or the proper instrument to just grab whatever you have. And that's how you start. And that is, in my opinion, a way to get the solid start. Because then once you graduate into the next step, you're coming into it right with your own creativity. But now you're learning and it's just the fucking. It's the way to go for sure. So we're all the way up to where you've not only, you know, made your own stuff on the karaoke machine, but up through the computers and making beats for other people and emceeing on other stuff. And I guess what's. What's coming.
• 21:02
  Speaker D: Yeah, next. Next is going to be more solo focused and solo production as well as kind of where things are evolving to which I'm excited for because some of the new production that's, you know, it took a long time to get to where I feel pretty good, you know, where it's at.
• 21:31
  Speaker B: And that's a different skill. Like on its own, the producing, the behind the scenes stuff, they're like. And you know, it's hard to almost like to. It's like operating on yourself, you know what I mean? Like, if it's your project and you're dissecting it and you're like, it's got to be a lot harder than working on someone else's stuff, you know?
• 21:54
  Speaker D: For sure it is. And like everyone says, we're our own worst critic. That's super true. So, you know, I take my time with projects and try and craft them up pretty nice.
• 22:08
  Speaker B: Hell yeah. So before we go, I think we should hear another song. Which. Which one do you want to play?
• 22:14
  Speaker D: So this is a brand new joint by Pete Pluto, which is AKA Sign Jesus. So many aliases I know. But this track is called Bo Nicks, produced by Isaac no Beat and the Loose Joints Instagram page. You can see the mini video that goes with it. So, yeah, check out Bo Nicks by Pete Pluto.
• 22:42
  Speaker B: All right, let's check out Bo Nicks and then we'll be right back to wrap it up with Sim Jesus.
• 23:01
  Speaker E: I ain't supposed to be here I found me a loophole Float like a new soul fuse blow dim it in a pool hole Batman your legs who holds manu ball? Oh oh Bronny king slow flow body do dirt doer cuz paid agents got to sing river ass gossiping lock and low body binge y never been through real rap about Not a thing you style equivalent colon pin fall asleep every track you on DJs not going to spin broken yah See white men, white women voting for red token Nazi shinobi hockey another stabbing abandoned cabin bill of rights get you killed on ice blood dry like a phone in the back that's filled with rice I got a hateful heart that overflows with nice I need a chain that sparkles overflows with ice Johnny dang check on your strong friend he probably hang like interrupted Girl I love you mom but up this world I'm burned out trying to stay ahead Both are finished they just want to take the bread I'm trying to shake the fence and you are bald from this damn stress I just want to shake my dreads Be friend enemies start to hate your friends My women friend got miscarriages made out of sin metal found in medications Take out the T I'm out a win High headed Aries trying to keep my head cool Yo I'm ugly like Deadpool with a lip I'm a walking dead man More splitted than red man My middle name must be E Ain't who opened up for caress that freestyle was whack he ain't spit Popularity and legends don't mix over here it's no giants and no nicks I'm alone with your pants down with dope cakes working out no, she on my bronco boom can't nobody with me do this in my sleep grimy raw 4th floor I ain't supposed to be here Grimy raw I even supposed to be here I mean, just maintain.
• 25:26
  Speaker D: Try and get some sleep I found the loophole Trying to eat somewhere healthy.
• 25:35
  Speaker E: I found the loophole I ain't supposed.
• 25:37
  Speaker D: To be here I ain't supposed to.
• 25:41
  Speaker F: Be here I found the loophole Orange.
• 25:50
  Speaker D: Man'S the president, yo, we hope for the best no matter what Stay positive.
• 25:58
  Speaker H: Found the loophole Nobody thinks he talks about, but he's. He's already picked over up 130 yards on the ground this year, and most of them have been scrambles like this. He's very elusive once he gets into the open, open field. And here he has a big gainer. It's one of the biggest ones of the day.
• 26:14
  Speaker B: All right, that was Bo Nicks, Pete Pluto, AKA Sim Jesus. And I want to thank you so much for taking the time every day to come up here and do this. It was really cool to be able to meet you and have this conversation after becoming familiar with your latest DP and liking it so much and having it on. It's great music to write to, by the way. Dope. I've used it to write to and it's. It's nice. But anyway, before we go, like I do with all my guests, I just want to give you a chance to say what I refer to as your gratitudes.
• 26:48
  Speaker D: All right. Well, yeah, thank you, Andy, for the dope review and for inviting me down for the, for the podcast segment. Appreciate it. 518.
• 27:00
  Speaker B: My pleasure.
• 27:00
  Speaker D: Yeah, shout out to the guys that are, you know, throwing shows, the venues in the area, all the support, the MCs.
• 27:12
  Speaker C: Hopefully we get a.
• 27:13
  Speaker D: We get some more hip hop shows going for 2025. Radio show Loose joints Radio has been down in hiatus for a solid year or two, but looking to bring that back in 2025. And shout out to all the radio stations supporting local music, big ups. Shout out to my family and everyone supporting me too. No doubt.
• 27:39
  Speaker B: All right, so he is. I'm Jesus. I am Andy scullen. This is unsigned 518 and I'll see you on the road.
• 27:47
  Speaker I: Unsigned 518 is produced and hosted by me, Andy Scullen. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.
• 28:22
  Speaker A: Andy Scullin and Scullin.