_The top five underground hip hop albums of 2011 for HipHopUG.com reflect the diversity and appeal the year showcased.  The much anticipated collaboration project of Ill Bill & Vinnie Paz as Heavy Metal Kings did not disappoint fans when they dropped the self-titled album. As expected, heavy beats and aggressive counter-culture and conspiratorial lyricism suited best for the duo, making their album a heavy release. The Heavy Metal Kings laid their chemistry and surpassed the anticipated hype.

Tech N9ne came through releasing All 6's and 7's in the summer. Although surprising most with featuring mainstream icons such as Lil Wayne, B.o.B., and T-Pain, Tech N9ne proved his legacy of far left appeal in rhyme schemes and rapid flow was not compromised. Strangely, the different array of features made the overall album encompass a genuine artistry that Tech has been exhibiting throughout his career, and showcasing his talent is not fading away. From mainstream  to up-and-coming artists, Tech N9ne was able to create an album with substance without compromising his artistic appeal and structure.

Vakill from the Chicago collective group, The Molemen, released a long awaited album - Armor of God. The wait was very well worth. Not only did Vakill came with ferocity in his rhymes, but the lyrics in each song inhibited memorable quotable bars that surely impresses the avid hip hop head. The production is top-notch paralleling successfully the heavy lyricism and flow of Vakill. He made a raw hip hop album like it suppose to sound like.

British emcee, Lowkey, released Soundtrack to the Struggle. Not only is the project very heart-felt, but the political commentary and honesty of the emcee created a outstanding vibe of authenticity and passion for the art. Superb hip hop is detected when an artist delivers tirelessly passion and commitment in their music.

But, the artist that exceeded the expected hype, was Evidence (of Dilated Peoples), upon releasing his second solo album, Cats & Dogs. After releasing his critically acclaimed debut, The Weatherman, Evidence managed to surpass his debut with Cats & Dogs. Although a producer himself, Evidence delegates the production aspect to talented producers, such as DJ Premier and The Alchemist.

The lyricism and flow reflect the high skill of talent Ev incorporates. The listener becomes engaged with the different subject matter showcased, with beats that match ideally for each song. In an age of cookie-cutter radio hits, Cats & Dogs strays from the notion to embrace what hip hop in its essence ought to be.

_Immortal Technique is a Latino rapper and political activist  born in Lima, Peru and raised in Harlem, New York.  Most of his lyrics focus on political issues. The views expressed in his lyrics are largely a mixture of commentary on issues such as politics, poverty, religion, social class, socio-philosophy, and racism.  He is notable for his aggressive hardcore knowledgeable lyricism, fiery passion, ferocious complex battle-like rhymes, and prestige speeches.

Immortal Technique bio on HHUG

_HHUG: On October 27 2011, you released The Martyr as a free digital download. How has the reception been so far?

IT: 500,000 downloads that we can trace, I think that it was received rather well wouldn't you say?


HHUG: The track "Rich Man's World (1%)" has generated a peculiar buzz about it. Not only does it embody a relevant and current topic (Occupy Movements), but many have praised on your delivery and flow appeal for the song. How would you describe your delivery and flow progressing in upcoming projects?

IT: I think that if you listen to the overall body of work that I have, everything has been progressing in terms of beats, rhymes, flow, breath control and delivery. Revolutionary Vol.1 was written mostly without beats while I was incarcerated and now I feel like the process has changed so much since then that I have become a stronger artist, a more well balanced person, and a more complete human being. I have taken what started as just making music and turned it into a Revolutionary movement. And for those that read this cynically, my work in Afghanistan, Haiti, and prison programs here and funding shelters is the proof beyond anything I could ever say.


HHUG: You are recently completed a tour for The Martyr.  Can you elaborate a bit on how the touring been so far?

IT: The first half of this tour was just completed with a resounding success. Packed and sold out venues and an amazing crew of Rebel Army members that accompanied me all over a huge span of this nation. I never expected such a powerful response so this is above and beyond what was originally planned.


HHUG: What have been some highlights and lowlights of this tour so far?

IT: The highlights were to reach so many new people that were coming out hearing the music for the first time, so many young people there that had never been to a Hip Hop show before. Also, because of the situation in Arizona instead of doing a show with the venue owners that have no care for the immigrant families we did one in the middle of the hood. It was amazing. Touching to see so many activists and people from the community there to support. There were a couple of low points like being stuck in North Carolina with a flat and dealing with a snowstorm that cut off the major highways for people to come to Philadelphia, a city that normally sellouts but this time ended up being half full but you can't control things like that so it comes with the territory.


HHUG: The Midwest portion of the U.S. was not included in the tour. Are there any specific reasons for that?

IT: Since the scheduling was so tight I figured that it would be necessary to divide the tour up into sections, There will be a Northeast, and a Midwest strong of dates in 2012 because it's necessary for me to reconnect with the legions of people that support the music and the message out there. For example I am going out to Australia in early January, and then at some point coming to the UK for a show in 2012. It would have just been a nightmare to schedule all together.


HHUG: How has performing at various cities in this tour influenced your schedule to support respective Occupy Movements?

IT: I think the fact that we made it to about 20 different Occupy sites gave me a very well rounded view of what was going on in these different cities. This album wasn't made as a direct response to the Occupy Movement after all, even the song "Rich Man's World" was 2/3 done for about 3 years until I finally finished the last verse and put the ad-libs on it that gave it the very poignant last verse that exposed what was going on in terms of banks and how intrinsically connected people are to the system that governs their world.


HHUG: Sonically, you have production highlights from J. Dilla, DJ Green Lantern, The Molemen, but a producer we do not hear from often is SouthPaw, whom provides more than half of the production in this project. How do you see SouthPaw's progression develop since your early days from Revolutionary Vol. 1?

IT: Revolutionary Vol. 1 was recorded all over the place, however when we did Revolutionary Vol. 2 it became clear to me that I worked with him best as an engineer and we eventually built and then rebuilt Viper Studios together. I've known that dude for a long time and I think that he has been as driving force in terms of production. His beats are so sick, and yet he's very humble and maintains a low profile, not many other production credits for underground artists which I wish he would change but then again I get all the monsters so I'm not complaining. But let me just say for the record, with no bias, he is criminally slept on.


HHUG: Who are your top 5 favorite artists and why?

IT: Rakim, KRS-One, Mozart, James Brown, & Sade because she made a song that reminds me of someone that is gone now. Listening to it puts me in a somber mood but I remember them with happiness.


HHUG: Any closing comments/statements you will like to make?

IT: www.ViperRecords.com download The Martyr for free and give it to everyone you know.

_Sicknature is an emcee and producer from Denmark and most notably for his eccentrical symphonic and melodramatic beats. He is also a member of the Snowgoons.

Sicknature bio on HHUG
Snowgoons bio on HHUG

HHUG: _Sparta is a collaborative album between M.O.P. and the Snowgoons, released on November 22, 2011. How would you describe this album?

Sicknature: Sparta is a very slamming album. I don’t think that the fans of either M.O.P. or Snowgoons will find the sound disappointing.


HHUG: Considering Billy Danze and Lil' Fame were not featured on any previous Snowgoons projects, how did you all cross paths to make Sparta?

Sicknature: Well, we have met a couple of times on tours. And we (Snowgoons) always wanted to work with them. So when we had the opportunity to let them hear some of our material, we went in and knocked out a portion of beats. Chuck Wilson from Babygrande hooked it up at the end and released Sparta.


HHUG: In your opinion, what made you guys work on a full length album with M.O.P., without any guest features?

Sicknature: I guess M.O.P. didn’t need guest rappers on it. Billy said: “I think M.O.P. on a Snowgoons project and Snowgoons producing a whole project for M.O.P. is enough featuring.”


HHUG:  Sonically speaking, how does Sparta differ from previous Snowgoons projects?

Sicknature: We have made collaboration albums before. Snowgoons are known for having many songs on their albums. This just has ten tracks and no guests, which is new for us. And when communicating with M.O.P. back and forth, they brought ideas to the table sound wise too.


HHUG: Are there any tracks you produced yourself, or were all the tracks produced in conjunction with the entire production team with DJ Illegal and Det?

Sicknature: I think it's almost impossible to make a beat where you sit down four people and work 25% on it each. Especially if you live in different countries. So a beat skeleton / idea will always be produced by one of the Snowgoons members and then ideas are added and adjustments are made. To give you a couple of examples, I came up with the “Blasphemy” beat. Then the other goons gave me their feedback and thoughts and we added them to it. Det & Illegal came up with “Body On The Iron” - I played a bass and keys to it. J.S. Kuster came up with the skeleton for “Get Yours” – he is a beast on the keys! We gave our feedback and made a few changes. But sometimes we all meet up and work on one beat together. That happens too.


HHUG: Lil' Fame is also known to produce music, sometimes under the moniker Fizzy Womack. Has any of his production influenced the sound of Sparta, and your music in general?

Sicknature: Lil Fame is a talented MC and a dope producer! His work is definitely inspiring.


HHUG: Sparta features ten tracks without any fillers. Were there any specific reasons to limit the album to ten songs?

Sicknature: I think that ten songs is enough album wise. As long as the songs are solid. There is no reason to just throw songs on it, if it´s not needed. Some of the best hip hop albums ever made, don’t contain that many songs. Perfect examples are Illmatic by Nas and 21 & Over by Tha Alkaholiks.


HHUG: How was your experience on working with Lil' Fame and Billy Danze like?

Sicknature: It was cool. We threw beat ideas back and forth and they just went in and killed it. They are good people and very professional!


HHUG: Will there be any more Sicknature/Snowgoons collaborations with M.O.P. in the future?

Sicknature: I absolutely think so. The Sparta album is getting great feedback right now. So it would make sense. But we´ll see.


HHUG: What future plans do you have in store as Sicknature and with the Snowgoons?

Sicknature: Becoming part of the Snowgoons opened new doors for me. And we definitely have a lot of Snowgoons material dropping in the near future as well as a new Snowgoons album. As the artist and producer, Sicknature (now of the Snowgoons) I
am working on a new solo album which is scheduled to drop in 2012. I have worked a lot with my good friend Ill Bill on new material as well. A new La Coka Nostra album Masters Of The Dark Arts will drop early 2012. This is just to name of few of the things I am working on. I try to stay as busy as possible!


HHUG: Who are your top 5 favorite music producers and why? Top 5 music artists and
why?

Sicknature: That is an extremely tough question to answer. It depends on my mood and what I feel like listening to at a particular moment. As a music producer I try not to be stuck listening to few genres and few artists. Even though I have been making hip hop music for more than half of my life, I still have a lot to learn. And I think I can learn a lot by listening to different music. So I wouldn’t limit myself as a music listener. However, nothing is compared to real hip hop music, man.


HHUG: Thank you for this interview. Is there anything you would like to add?

Sicknature: Thank you! Stay tuned for more Snowgoons music! We keep growing and keep working hard!

_Saul Williams is an American poet, writer, actor and musician known for his blend of poetry and alternative hip hop and for his leading role in the 1998 independent film Slam. Williams is a vegan.  He currently resides in Paris, France.

Saul Williams full bio on HHUG

HHUG: Volcanic Sunlight [VS] initially released in France in April, and in November in the United States. Were there any specific reasons for the different release dates in both countries?    

SW: Yes. I had to decide on who I wanted to distribute it the states. I also had decided early on that I wanted to focus on Europe for touring and promo first.  


HHUG: You described the album's title as the idea that the sun and God is this force outside, a force that shines down on you. Can you elaborate on the concept? 

SW: Actually, I describe it as a source of light that comes from deep within as opposed to something that comes from above. I don't believe God is a force that comes from outside. 


HHUG: VS incorporates a more danceable approach and vibe in its production than from your previous releases. What caused the production shift? 

SW: Life. Growth. Evolution. I was focused more on the music this time around. Why? Because that's how it happened. The process is organic not premeditated.  


HHUG: You also showcase your singing abilities on this album. Can you elaborate more on this aspect of the project? 

SW: On each album, since my first, I've felt more and more comfortable singing. On most of my songs I write the music first and then determine through the sound where to place my voice and how. "Black Stacey", "List of Demands" are old examples of that and it's the same process I used while writing VS.  


HHUG: You stated that working on VS, you had to think about it like a movie. Can you elaborate on how the process on making this album differ from the processes of previous projects? 

SW: While writing the music for this album I realized that I was using my synths to create a lot of horn sounds - this worked well for the demos but I knew I wanted real horns, real drums and percussion, etc., on the finished project - so I began trying to figure out how I could find a real horn section and studio to record them in and realized I would need a production budget and thus decided to work with a label - to be able to ensure the quality of sound I wanted.  


HHUG: You moved from Paris to record VS.  How has the experience of living in Paris influenced you as a poet and recording artist? 

SW: Breaking out of my comfort zones and approaching new cultures, new ideas, with an open mind is good for anyone's creative process. It challenges me ti not rest solely on what I know. 


_HHUG: Living in Paris, how would you describe the hip hop scene over there?    

SW: Enormous & it's been that way for 20 years already. Check the film La Heine. These kids live and breathe the culture. They listen to all that comes out of the US while also creating their own hip hop stars & icons.  


HHUG: The Stone Bench is a short film shot in the Catacombs of Paris. Tell us more about this project.    

SW: We shot it in the catacombs, which is basically the city built beneath Paris. You have to swim through an underground river to get there. The artwork and tags can date back, literally, hundreds of years. I visited it a few times with friends before inviting the film crew from La Blogoteque to go with me.  

HHUG: Being recognized as social critic in your lyrics, what are your thoughts on Occupy Wall Street movement? 

SW: I think it's time for us to align it with the movements that have been mist crucial to the US i.e. The Civil Rights Movement, which I don't think ends on the discussion of race. As Dr. King said, it's about making America live up to it's promise and we've way too heavily invested in defense than education and healthcare, for example. 


HHUG: Who are your top 5 favorite music artists and why? 

SW: James Brown 
Michael Jackson 
Jimi Hendrix 
Nina Simone 
Public Enemy    
I don't think they need explanation. 


HHUG: What future projects or plans can fans anticipate from Saul Williams?

SW: I edited an anthology of 100 living poets that will come out 9/4/12 thru MTV BOOKS.  I played the main character in a film called Aujourd'hui which I shot in Senegal over the summer and will also come out in 2012. 


HHUG: Thank you for taking the time for this interview. Any closing thoughts?  

SW: Thank you.   

Lord Lhus (aka The South Carolina Stalker) is an underground rapper from South Carolina, USA.

Lord Lhus full bio on HHUG

HHUG: Fuck You Lord Lhus [FYLL] is your debut album released on November 1, 2011 as a free digital release. Instead of releasing the album through a music label, why did you decide to release it independently and as a free download? 

LL: Because a lot of rappers/producers talk that "fuck the industry" and "we keep Hip Hop alive" shit but when it all boils down, all they care about is money. I just want people to have my music, fuck money I get paid from collaborations and shows.


HHUG: The title of your album is bold. Why did you decide to name your project under that title? What theme or message(s) should fans anticipate from your album?

LL: Honestly I feel like a prophet because sometimes I don't know why I rap about shit but it always comes true. At first I just wanted it to be funny but that shit came to life after time so it's like it was part of a divine plan. People can expect to hear me hit every angle of style on this album from deep shit to battle rap to some psychedelic spaced out shit.


HHUG: There are two music videos for the singles "L.H.U.S" and "Fuck You Lord Lhus". Can you elaborate on these music videos?

LL: "L.H.U.S." - that's just a song I made about killing mainstream shit while sounding as mainstream as possible. "Fuck You Lord Lhus" I did almost two years ago but at the time it dropped, I had just got set up and jumped by some bigger rappers so it just fit perfect with the time haha.


HHUG:  Prior to FYLL's  release, you released a mixtape with an opposite title, We Love You Lord Lhus [WLYLL]. What can you tell us about that mixtape?

LL: That was all the songs that I did not think fit on the FYLL album. I tried to make FYLL all fit together, WLYLL was just the cut tracks.


HHUG: Months prior to FYLL's release, many rumors circulated on the internet regarding a fiasco involving Vinnie Paz, Ill Bill, and the Snowgoons against you. Can you clarify these rumors?

LL: Yeah, the AOTP dudes got their feelings hurt about a comment I said about one of Jus Allah's verse and took it way too serious. After a few arguments on Facebook with Paz and Jus, I was sick of the childish shit so I went to the Heavy Metal Kings show in Toronto and try to squash it. I came alone and told the promoter to tell Paz I was here and want to peace shit out and show my support. He comes back all on some "yeah come on they got a blunt ready for you and all," so I go and soon as I get in the door, it's a set up - five on one - the lights go out and I got caught slipping. After that the Snowgoons made a straight industry political move and dropped me in hopes that Paz and Bill don't drop them. All petty bullshit but I'm glad it happened because I got all the snakes that was rolling with me out of my garden.


HHUG: Many fans anticipated production from the Snowgoons on your debut since of your frequent involvement on their previous projects. Did the incident with Vinnie Paz & Ill Bill in Toronto led to the absence of Snowgoons production on your album?

LL: There is no Snowgoons production on my album. In my opinion their beats are falling off and starting to all sound the same and not raw but more computerized. I only work with the best such as Al'tarba, Benzie, Junior Makhno, etc.


HHUG:  Also you released a diss song aimed at Ill-Legit Records artists, whom you had close affiliation with. Can you elaborate on that?

LL: The story is in the diss. I took these kids under my wing, showed them love, tried to give them my fan base but soon as Snowgoons quit fucking with me they along with many other of the people I was rolling with, got scared to be associated with me because it was now a "bad career move." Like I said, all this is good because now I know who my real people are.


HHUG: Noticing you have performed at shows in Europe many times, are there any touring plans for FYLL in the U.S. and/or abroad?

LL: I will be all over Europe, that's where I rest now and I don't really plan shit. So no "tours" set up but I'm always down for shows and also will be in Bogota, Colombia this December for a show.


HHUG:  What is in store for Lord Lhus in the near future?

LL: I will takeover the underground scene with my chosen affiliates, EHW (Empty Handed Warriors).


HHUG:  Who are your top 5 favorite music artists?

LL: Hank 3, Rakim, Lynyrd Skynyrd, AC/DC, and Tragic Allies.


HHUG:  Thank you for taking the time for this interview. Would you like to give any closing comments or shout outs?

LL: Big ups to all my fans and supporters!!! I do this for y'all!! And hit up www.LordLhus.com and my forums!!

C-Lance is a producer for Enemy Soil from Boston, Massachusetts. Discovered by Vinnie Paz of Jedi Mind Tricks, C-Lance has quickly established promising potential with his unique production approach of epic orchestral ominous melodies, and heavy-drums infused beats.

C-Lance full bio on HHUG

HHUG: As relatively new producer in the game, you are already an official member of Vinnie Paz's label, Enemy Soil. How did you accomplish such a great feat?

CL: Hard work and dedication. I never take a day off and back before I met Paz, I was working just as hard. I was making beat after beat after beat during college, and that remains the same today. I think it was my hard work, consistency and professionalism that attracted Vinnie to my music. I mean, obviously it was how my beats sound, but I remember when we first met he would say how hard I work and how hungry I am, so in the end, it was hard work and dedication that led me to being Paz's producer.


HHUG: Vinnie Paz's solo album - Season of the Assassin - if not introduced, expanded your beats to a larger audience that captivated an involving buzz regarding your style. Many praised your unique production approach as a mix of epic orchestral ominous melodies, incorporating heavy-drum infused beats. Can you elaborate how your style emerged and why it has been received so well among the fans?

CL: I defitnelty think my style is like nobody else, but that's what I think makes my beats stand out to certain artists and the fans. You know, me and Vinnie always talk about how Enemy Soil has established a sound, and as a label, we are just the hardest sounding cats around. I think the reason I have been so well received by the fans and the reason all our Enemy Soil projects have been so successful,  is because of the hard hitting sound we have and most importantly our consistency. I just think the fans were sick and tired of hearing the soft hip hop, that soft corny loops, with soft drums, and we just came out with a bang and thats what caught everyone attention. I mean, my first song released was "Kill Em All" featuring Beanie Sigel, I think that just opened everyone's eyes and ears, and I let everyone know from the beginning, this is my sound, Enemy Soil's sound, and nobody else can do it like us.


HHUG: What influences you in crafting your beats?

CL: Man, I would say the thing that influences me is just trying to get better with every beat. Success is what influences me. Like, seeing all these fans saying they love my work, that's what influences me. Just that strive to be better and better, I don't want to be just a producer who has a nice little career, then is forgotten. I want to be a legendary producer, a well respected producer whose name continues to be heard even when I retire. Sometimes, I get influenced when I hear a beat from The Alchemist and I am just like...wow, I gotta go make a beat. But mostly it's just, I want to be the best, and that's why I work every day.


HHUG: You have mentioned you are a Jedi Mind Tricks [JMT] fan, even before joining Enemy Soil. Has Stoupe's production impacted or influenced your craft in any way?

CL: Oh man, I'm a huge Jedi Mind Tricks fan so of course Stoupe had a huge influence on my beats. I mean, SOUND wise, I wouldn't say we sound alike at all, but of course he has a huge influence on me getting involved in making beats. It's funny you ask this because, I remember talking to Stoupe on the phone a couple months back, and we talked about what influences us when we make a beat, and what gives us our ideas when we sit down to craft a beat. You know, growing up in high school, Stoupe, The Alchemist, and DJ Premier, those were the three dudes I listened to the most, and studied their drum patterns, how they flip samples and everything. Stoupe is a legend in my eyes, he will forever have my respect as one of the greatest producers ever.


HHUG: Besides working with Enemy Soil artists, have you done any beats for other artists?

CL: I like to keep it in the family, so not many. I am doing a lot of work with Ill Bill, he's family though, so I don't look at him as an "other" artist, also La Coka Nostra, But I am working with Diabolic on his up coming album and R.A. The Rugged Man, these will be coming out in 2012.


HHUG: Hypothetically speaking, are there any dream artists you would love to work with if given the chance?

CL: Of course, I would love to work with Eminem. He's incredible to me, what he accomplished from 1999 up until now, is unheard of. People like to hate on him now because of his change of style, but I know that Slim Shady LP Eminem is still in him, maybe he needs a C-Lance sounding beat to bring that out, lets make it happen! Also, Royce Da 5'9", 50 Cent, and I think it would be crazy to work with Mobb Deep, Havoc is one of my favorite producers, and obviously Prodigy is one of the best.


HHUG: When creating your beats, are you more inclined to incorporate sample-based beats or lean towards original beats with no or minimal samples?

CL: I like to sample, I just like the hard grimy sound a sample gives you. Like I mentioned, I was influenced by Stoupe, DJ Premier and The Alchemist, sample based producers, so that's what I love. That being said, I also make crazy non-sample beats as well. I can create melodies and play the piano pretty good so I can make just as hard hitting non-sample beats. It's funny, some of the songs I have produced that have been released are original beats, but I do a great job in making my own melodies sound dirty, because the key is to make them sound like samples.


HHUG: What is your approach in working with artists interested in you? Do you sell beats or cater to targeted artists?

CL: If an artist is interested in working with me, email info@jmthiphop.com. I do sell beats. I never go after an artist to work with. I work with Vinnie Paz, Jus Allah & Ill Bill, so I mean, why would I wanna go after anyone else? They're the best anyway. Artists hear what I make for them, so they want classic beats, they can come to me, I ain't chasing anyone down.


HHUG: Do you also deejay, or just exclusively on the production aspect?

CL: Nah man, I am just strictly a producer, I mean the one downfall of being just a producer is I don't go on the tours. I don't get to see the world, and perform in front of all our fans. But, I wouldn't change anything, I'm living the dream.


HHUG:  On the new JMT's album - Violence Begets Violence -  you participated on four tracks, "Burning the Mirror", "Imperial Tyranny (feat. King Magnetic)", "Willing a Destruction onto Humanity", and "The Sacrilege of Fatal Arms". How do these JMT beats differ from your previous beats on the Heavy Metal Kings album with Vinnie Paz and Ill Bill?

CL: I would say the beats on Violence Begets Violence show that I can create different styles. "Willing a Destruction onto Humanity" is like nothing I have ever produced or that any of the fans have heard on previous albums. My beats on Heavy Metal Kings was just hardcore boom bap hip hop. Hard drums, hard samples and like, anthem type beats. On JMT, they are still all crazy hard but with a little different style. "Burning The Mirror" that's my joint. Paz and Jus KILLED that beat, they turned it into a monster. Shout out to my brothers Vinnie Paz and Jus Allah, they made an incredible record, it was a honor to be apart of it.


HHUG: How was your experience working on the new JMT album like?

CL: Man, it's a dream come true. Being a huge fan, to producing for them, is...well, I can't even explain it. It was just a complete privilege and honor to be apart of the album. It was an experience I will never forget. Just seeing the phrase "Jedi Mind Tricks produced by C-Lance" is like something I want to frame haha. When I first heard the final mixed songs, I can't describe the feeling I had. Vinnie Paz is a legend to me, but at the same time, he's one of my best friends so like. It's hard to look at him as like that legendary rapper, because we talk all the time and joke around, but sometimes I think to myself, this is Jedi Mind Tricks, these guys are the best underground group ever, and I get to be apart of it? It's just the best feeling.


HHUG: How do you see the current Hip Hop scene in regards to its production trend?

CL: I'm real picky with beats, so I mean I think everyone stinks. But that being said, I think there is a bunch of great production out there as well. I do notice a lot more people are trying to come with that hard sound, and trying to sound like Enemy Soil. There are a lot of great beats being made though, I mean on the albums I have been on for example Paz's Season Of The Assassin that was one of the greatest albums I have ever heard, every beat on that was a banger. And on Heavy Metal Kings, Ill Bill's beats were incredible. His production on that inspired me to make more beats. I think his drums and samples sound like nobody else. So I mean, I think there is a lot of good production but also there is far more terrible beats out there.


HHUG: Who are your top 5 favorite music producers? Top 5 music artists? And why?

CL: My top 5 music producers. Man I would say, my all time favorite producer is The Alchemist. I think he has been the most consistent producer and most hard hitting producer since I been into hip hop. Number 2, Dr. Dre. His Chronic albums alone show what a real producer should sound like, listen to those albums on repeat if you want to be a producer, you might learn something. Number 3, DJ Premier. I am a huge fan of how he flips samples, and his drums are always hard, lets face it, nobody would be making beats if it wasn't for Premier. Number 4, Havoc. Similar to The Alchemist, and being a big Mobb Deep fan, you can see why both of them are in my tops. Havoc has the craziest samples. He finds samples that are incredible. His beat on the Eminem album and even the album with Royce, was on another level. I can't wait for a new Mobb Deep album. Number 5, I gotta go with Stoupe. His beats on all the JMT albums, speak for themselves. His change up of percussion was always what intrigued me, he never had the same drum patterns, and he would always change his samples throughout the songs, which is important as a producer. My top 5 music artists, I gotta go with Eminem as number 1. He is an amazing artist, people forget, he is a incredible producer too. His first three albums are in my top 10 albums of all time, he's a legend. Number 2 is Vinnie Paz. He doesn't get the credit he deserves for all these careers he is responsible for. He's incredible as a song composer. What I mean by that is, he picks the best beats, and he can give you a song like "Keep Moving On" some real life topics, or he can give you something like "Burning The Mirror" where its like that hardcore evil type hip hop. Number 3, Ill Bill. His lyrics are on another level. He is one of the rare artists that when I hear a line from him, I'm like...hold up...rewind that...what did he just say? Haha...he says the CRAZIEST rhymes. And his artwork is always dope, he's a complete artist. His beats are amazing as well. Number 4, Everlast. The first ever album I ever bought was "Whitey Ford Sings The Blues" The reason I am a huge fan, is because he has the hardest raps in La Coka Nostra, but then he can change the mood and take out the guitar and sing a song. Not many artists are like him. He's always been one of my favorites. Number 5, gotta go with Jus Allah. Haha I sound bias here, saying all my friends, but like I said, I am a fan of all these guys before I even made my first beat. But yeah, Jus, his lyrics are incredible. He says things that are not even suppose to rhyme, but he makes it work. He is just a monster. He has a few flows too, which is rare in a artist.


HHUG: What plans do you have for the future?

CL: Future plans, just continue making the best music I can make, and continue working hard at keeping Enemy Soil at the top of the underground scene. I just look to get bigger as a producer, smarter, and better. I want to be the best, and I won't stop until I am. As far as upcoming projects, man we got a lot. We're working on Vinnie Paz's upcoming solo album, God Of The Serengeti. He already got joints with Kool G Rap, F.T. and he's going to be working with DJ Premier, Psycho Les, Immortal Technique, and a few more surprises on this record as well. We also got another Heavy Metal Kings album on top of the HMK vs DJ Muggs album, so really, two more HMK records. That Jus Allah Meanest Man Alive album, which is entirely produced by me, and it's going to be incredible. Working on Ill BIll's solo album right now, we got a folder of like a million beats together, and also The Pill album which is Ill Bill & Sean Price. Coming very soon we are also working on a new La Coka Nostra EP, that will be out before the New Year. Vinnie also wants to do a OPG album, which will be the hardest record ever made, that will be straight hardcore hip hop. And a little surprise is we might do an entire Vinnie Paz & Tragedy Khadafi album, that will get the people talking. So yeah, man we got so many projects coming out, I mean Paz has released three incredible albums in less than two years. So we will just keep making that quality music.


HHUG: Thank you for taking the time for this interview. Any closing thoughts?

CL: Thank You for having me, this was a dope interview. Shout out to my fiance Anna, thank you for always supporting me and being here for me through everything. My entire family back home in Boston, Mom, Dad, my brother Mike, my grandmother, my aunts, uncles, and cousins. My long time friend Brian. Shout out to my brother Vinnie Paz, I can't thank him enough for what he has done for me and my career, Jus Allah & Ill Bill, we got some crazy music coming. And to ALL the fans out there, thanks for always supporting and showing us love, and if you haven't bought the new Jedi Mind Tricks album Violence Begets Violence go get it! Peace!

Savage Brothers is a duo from Columbia, South Carolina consisting of Knowledge and Qualm. Collaborating with Germany elite production team - the Snowgoons - and South Carolina's underground sensation - Lord Lhus - Savage Brothers have branded their mark among the underground hip hop scene.

HHUG: Savage Brothers consists of Qualm and Knowledge. How did the duo form?

Knowledge of Savage Brothers [SB]: Qualm is my real brother. We had a group with two other people, they faded away and we kept it moving, we went from there.


HHUG: What kind of lyricism would you say Savage Brothers incorporate?

SB: Gutter street shit.


HHUG: How did you guys start collaborating with Lord Lhus?

SB: Lhus is my best friend and we have always rapped together since school, we had a old group together called "Cobra Kai" and that developed in to Savage Brothers.


HHUG: Hailing from Columbia, South Carolina, how did you guys hook out with the Snowgoons from Germany?

SB: Lhus put us on to Snowgoons during the Black Snow recording. Lhus was invited to do a song "My Time" that was put on the bonus disc and at this time DJ Illegal was feeling the "Been Fighting Devilz" song and mentioned getting us on Black Snow as well. You can hear that track on the album "Hold Up" featuring R.A. the Rugged Man.


HHUG: In 2009, A Fist In The Thought was released from the Snowgoons featuring Savage Brothers and Lord Lhus. How did that project come about?

SB: That was the Snowgoons idea, we didn't make one cent off of that album because it was under Babygrande Records. But it is still a classic and that album being dropped help push all of our names so it is what it is.


HHUG: Are you guys signed to any label or having plans on doing so?

SB: No we are not sign right now and don't plan on being signed unless the proper deal presents its self.


HHUG: The Iron Fist is the follow up installment to A Fist In The Thought, which released on  April 5, 2011. Can you elaborate how this album differs from the first?

SB: It's more gutter, more grimier. Kind of seems like it should of been our first album cause we are still hungry more than ever before.


HHUG: What can fans expect from The Iron Fist in regards to its concept and appeal?

SB: Straight hardcore real hip hop bang you in the face type of rap man, we do it all for the fans. We get deep on a few tracks, cop the album and see for yourself.


HHUG: Can you talk about the production featured in The Iron Fist?

SB: Yeah it's the European elite, Snowgoons, Crown, Al'tarba, Velvet Sick, Hitfarmers, The Returners, Shuko, 5th Criminal, White Shadow, Sicknature and more. What else could a underground emcee ask for?


HHUG: Who are your top 5 favorite music artists and why?

SB: 1) Nas - grew up listening to him. Always felt his music.
2) Onyx - hardest group out, they bring so much energy.
3) Wu-Tang Clan - they started all the raw underground shit in the worldwide mainstream.
4) Chief Kamachi - I been a fan of him since "Deer Hunter" on the Jedi Mind Tricks Violent By Design album.
5) Ol' Dirty Bastard - there's not a father to his style.


HHUG: What can fans anticipate in the future from Savage Brothers?

SB: More heat, more raw rap, more hip hop and more movement - Lord Lhus/Savage Brothers/Snowgoons = one camp


HHUG: Thank you for the interview. Would you like to give any last comments?

SB: Yeah Europe get ready, keep it moving.
-Knowledge - Savage Brothers

Sullee J is an up and coming Pakistani-American hip hop artist. With over 2,500 downloads overnight upon its release, Sullee J's mixtape
R.A.P. Mix Tape 'Rhythm, Architect & Pulse has generated a buzz among the underground hip hop community. He has released two studio album - The Consequence (2009) and Vindication (2011) - independently.

Sullee J full bio on HHUG

HHUG: In 2005, you were involved in a life changing car accident. Can you briefly describe how that change your life and your music?

Sullee J [SJ]: The most important lesson it taught me was, be grateful through anything and everything, because what’s bad right now, could always have been worse, and nothing is worse than death, where I almost was headed. The car accident might have left me with a few injuries, but through God’s grace, I am fully able to be back on my own two feet and live like it never happened. I now do have a titanium rod in my left leg, due to the femur being split in half, although it does not stop me or my will to move forward. Music wise, it did not change much as far as, back then I wasn’t rapping, this was back in 2005-2006, it mostly changed my outlook on life, and how to live it.


HHUG: What challenges have you encountered in your music career regarding being a Pakistani-American emcee?

SJ: First of all, It’s hard showing your face in a all hip hop scene depending on where your at. I remember one of my first places I performed was “The Atrium” out in Atlanta. There was people like DTP, Jive Records, Dj Aaries, and more in the building and I was the only “brown” and “Pakistani” person in the whole room full of maybe 300 people, and when I went up on stage, it almost felt like everyone was like “what the fuck?” and staring at me funny. But one thing I'll tell you, the second I started spitting and gave them a bit of “Sullee J," I saw camera flashes and after I got off stage, so many people came up to me and were like "man that’s deep," that was nice. I feel like a lot of the times when I meet new people in the industry now, getting as far as I have lately with media attention, radio play and all, at first people are shocked when I say I rap. They usually predict maybe I'm a singer or something, but not only do I flow, I murder the beat when I do so. Listen to me at www.sulleej.com, I promise I'm not lying. Another thing is, a lot of my songs are politically conscious as well, and being apart of the whole stereotype since 9/11 occurred, it probably makes me look “radical” as some have called me or “extremist” even though I'm against extremism of any kind. I want people to know opinions don’t mean hate, I do not hate, my religion does not teach me hate, and I will not disrespect, I will only state facts when there needed.


HHUG: For those that did not follow the story of Billy Anderson, a young man whose struggled through a mysterious illness received vast media attention, Can you talk about your contribution in solidarity to Billy and his family, most notably the internationally acclaim single "Billy's Conscience"?

SJ: Billy Anderson was an amazing husband to his wife and a father of two very beautiful girls. I first became aware of his story on Fox news, and it struck me that a man has been in a hospital for such a long period of time, and with all the technology we have and knowledge of medicine, they couldn't figure out what was wrong with him. Not ever doing something like this before, as far as writing a song about an incident to bring awareness that would possibly create more chances on finding a cure, I wrote "Billy's Conscience." Before, I did, I had spoken to his wife for about a month or so, and got to know more about his life, and how everything happened, and why the doctors were calling it "Billy's Disease" since they couldn't find an accurate diagnosis due to his symptoms, they named it after him. The song entitled "Billy's Conscience" was written from a perspective, as if I was speaking from his view on life, for the past 16 months when I first became aware of his story, how do "I" feel about my wife, my kids, and hearing the same thing from doctor's everyday. I wrote a song, hoping it would help cope, maybe give a bit of hope to the family, never expecting or having any sense of thought that a few weeks later the media would get involved. Billy's song ended up being on several radio stations, who for example 1010AM out here in Baltimore on the Larry & Jimmy the BodyGuard's show really helped us try and bring in potential people who could help, either by donating to the family, or recommending doctor's who might've dealt with such a case previously. The family raised quite a bit of collection trying to gain enough to find some source of outcome, although sadly even after 22 months on a hospital bed, nothing was resolved medically and Billy passed away. People can find out more about the story in depth if they just google "Billy's Disease" or even listen to the song that was made for him at - http://www.youtube.com/watch?v=wpQ9u1AX0cY


HHUG: As a self-driven and motivated emcee, how would you describe your approach to your lyrics and music?
SJ: Everything is solely from the heart. A lot of my music is from experience, a lot of it is my opinion on the current state of our society, conditions that are going on in our world, including poverty, degrading women, injustices and such, and I also make songs, by creating scenarios that are relevant to other folks so when they listen, they can be like, "I know just how this feels."  I like to be alone when I write, doesn’t mean I can’t be around people, I just feel like when Im writing, I want to be isolated, and music is my drug, so I want to be greedy with it, and have it all to myself. I can write a whole album in a week if you asked, I got so much hunger inside me, it surprises me. Every time I finish a song, or album or concept, I feel like "man I wonder how I'm going to think of better material," and just when I hear another sick beat, it’s all new.


HHUG: Vindication is your sophomore album released on March 25, 2011 independently. Why did you decide it to release it independently as oppose through a music label? As of right now I haven’t pitched to labels yet, I know a few are looking at me, and I have had A&Rs reaching out to me. I'm just waiting on the right time.


HHUG: How would you describe the appeal and approach to your album and what you anticipate fans will gain from it?

SJ: I feel like my approach to this album was a lot of things built up inside me, from the rage of being called ignorant names like terrorist, to the pains of heart break, to the facts of injustice on our society, and then switching it up and including my artistic, creative side as well by making songs like “Crazy In The Head” where I prove my lyrical ability, and also put in a interesting story to that track. I hope my fans can see how much heart I have put in not just Vindication, but all my music, I hope they actually listen to the lyrics. We (my producers, Amar Azaan, DMR, Mastermind DaGenius) on this album, put in a lot of work and effort hoping that the fans will learn from it, and appreciate good music, because you don’t hear a lot of that to often now days.


HHUG: Amar Azaan, Mastermind DaGenius, and DMR contributed to the production aspect of the project. What can you tell us about Vindication's production style and appeal?

SJ: As much as I stressed out these producers with my constant pressuring to get this project done, I think in the end we are all very happy it's finally done. They all know with me though, it’s never done, as long as music exists, theres always work to do. DMR produced my intro “Vindication” one of the hottest tracks on the album, not only is the beat crazy, but the catchy hook, and passionate flow will make you want to put the track on repeat and let it play all day. Mastermind DaGenius was behind the track “Crazy in the Head”, which I think is one of the most creative tracks I’ve done up to date, and we can’t wait to make that video. It really does make you think I'm crazy in the head when you listen to it. Amar Azaan, that’s my homie, my brother, I met him before any of the other producers, and not only has he believed in me since day one, but we both inspire each other back and forth when one of us has an off day. He’s the master behind the rest of the 10 tracks on the album. People already have heard a lot of the recent songs me and him have worked on, so they already know they can expect nothing but phenomenal and sick beats & lyrics all over the place on the album. Some tracks I really suggest they listen/buy, “Weakness of Man", "Guidance", "Politics", and "How Can We Move On”.


HHUG: "Weakness of Man" leaked as the single for the album, with a music video rendered for it. How was working on this video like and what concept are you trying to convey with it?

SJ: First of all, shout outs to Underscore Films. They directed the video, and shout outs to the ruff riders “Mic Supreme & Al, Stevie, Crash and Franky.”  It was an amazing experience and my first professional music video. "Weakness of Man" displays the role of positivity trying to stand up to all the negativity around, i.e. corruption, injustice, hate, crime, and more. The song takes an approach from a conscious perspective. "Weakness of Man" is a beginning, which shows that I (positivity) can be beaten down, emptied out, and tortured, although in the end I will still stand and fight for the right path.


HHUG: There is a bonus track for Vindication. What can you tell us about that?

SJ: "Think Twice", which is a free download, you can get it off www.sulleej.com. It was a previously recorded track that I did out in Norway and released it on my third mixtape R.A.P., and at the time it was not fit quality, but it was a track that had so much response and feedback, so many people loved it, that I'm like this has to be more than just a mixtape track. I was forced to re-record it, master and put it out. I'm also in the near future doing a music video for it. A few companies hit me up asking if they can sponsor the video, so it will definitely be work you will get in the future from me. "Think Twice" is heartfelt, lyrically amazing, and the beat (thanks to Amar Azaan) will make you zone out.


HHUG: You have expressed interest in being signed to a major label if given the opportunity. How do you think this might affect your lyrical concepts of your music since many other indie artists such as Dead Prez, Immortal Technique, Lord Lhus, have warned against the negative influence of major labels?

SJ: I feel like, just like I broke the barrier, thanks to God’s help of being the first Pakistani on mainstream radio out here in the U.S. as far as hip hop goes, I will open up new doors for the lyrically inclined in this industry once again. I got my ways, I'll just leave it at that.


HHUG: Who are your top 5 favorite music artists and why?

SJ: I don’t like rating people, but I can say the ones I listen to most, because they are not only my influence, but there music actually has content that makes sense. Tupac, DMX, Lupe Fiasco, Talib Kweli, Eminem.


HHUG: What upcoming plans or projects do you have ahead? Any new albums, or collaborations on other artists' music?

SJ: Definitely so much, including summer tour over seas, a lot of future collaborations that are all in the works, of course maybe two to three more mixtapes, and I'm already working on the next album, but that’s all things I will reveal as time goes.


HHUG: Thanks for the interview. Closing thoughts?

SJ: BE YOURSELF! I love God, I love my family, I love all my fans and anyone that supports me. I love my haters, I love the people who told me I would never make it this far, because they are my biggest motivation. Shout out to HipHopUG.com.

Atma is a conscious godcore hip hop artist from Chicago, Illinois, notable for incorporating deep metaphysical lyricism. He is a member of hip hop supergroups Masta Buildas and Lost Children Of Babylon.

Atma full bio on HHUG

HHUG: Incorporating conscious lyrics with a metaphysical/spiritual/esoterically approach, what influences in rhyming with this style?

Atma: Growing up as a kid, I loved Rakim, KRS-One, Guru.They influenced me very much. I also had a near death experience in 1997. I was stabbed in the stomach in Chicago in a fight, and had emergency surgery. I spent a month in the hospital, and had many deep realizations. I experienced the presence of God, and got direct perception that I was not this material body, that I was the eternal soul, and began to get self realization. All I could do was meditate for a month - I couldnt go anywhere. When I got out of the hospital, I saw the world in a new way. Walking down the street, I noticed how people were unaware of their divinity. People giving hard looks at me not knowing what just happened to me, I had a big hole in my stomach, with gauze stuffed in it, with cloth wrapped around my waist. I began to realise how people were really lost, and suffering within from lack of knowledge of themselves. So, being an emcee, I began to write about God consciousness and metaphysics, about our eternality, cosmic consciousness, and our relationship with God as eternal souls having this human experience.


HHUG: For those not fully aware of the depth of your lyricism, how are you able to captivate such listeners with your music? And what do you hope they will gain from it?

Atma: I just try to spit from the soul & from the heart, hoping they will be sparked within, and get some realizations about who they really are. That we are beyond these temporary bodies, and that the real you, the soul, is eternal. The spiritual anger I have felt in the past was lyrically aimed at unconscious materialistic emcees spitting garbage with no substance whatsoever, but I have had deeper realizations as of late as we near the end of a 26,000 year cycle, that people need more knowledge light and love, so I have stepped away from darker lyrics to go deeper into the truth, as time is running out.


HHUG: Many fans whom praise your work, have often said they find your background biography obscure or unclear. Who is Atma and how did you arrive as an underground emcee?

Atma: I'm from Chicago, and came up in the underground scene there by going to open mics at the Double Door, The Elbo Room, Subterranean, etc. I became friends with different underground emcees and producers in Chicago. I became friends with Panik of Molemen, and did a demo with him in 1999, but it never came out because I decided to take my spiritual life very seriously after meeting a guru named Radhanath Swami. I was amazed by his knowledge and became a monk in 2000. But after five years of deep study of Sanatna Dharma and the Vedanta, and the ancient mystics traditions of the east, I hooked back up with Panik and recorded Beyond The Speed Of Mind released independently in 2006, which became an underground classic LP worldwide by 2007.


HHUG: Who are your top 5 favorite artists?

Atma: Rakim Allah, Big Daddy Kane, KRS-One, EPMD, Gangstarr


HHUG: With the knowledge you constantly showcase in your music, which religion(s)/spiritualities do you follow or study? What beliefs and/or philosophies do you follow?

Atma: I study the Vedanta, which means the end of knowledge, Sanskrit - is an eternal language, with descending knowledge predating every language in the universe. The Bhagavad Gita as it is, the Srimad Bhagavatam, being the two ancient scriptures I study the most, that were put into written form over 5,000 years ago. The path I follow is called Sanatna Dharma, or the eternal truth. I also read every metaphysical book I can get my hands on, from Sumerian knowledge, Mayan knowledge, the teachings of Christ, Buddha, and the saints and sages of all different mystic paths.


HHUG: Beyond Birth And Death [BBD] is your second studio album officially released on February 1st 2011 on LCOB Productions. However, it was leaked prior to signing with LCOB Productions. What caused the delay of its official release?

Atma: I decided to leak it prior to it getting picked up by LCOB Productions because all the songs were lost in a studio crash. I only had mp3s, so I put it out for free download, but the people still loved the LP. The songs spread all over YouTube quickly, and became popular, so it ended up being picked up by LCOB Productions and getting promoted and serviced to iTunes and other digital sites.


HHUG: BBD is a double feature CD as a digital only release. Can you explain the concept and approach to the album, most notably being a double feature CD?

Atma: Well I listened to the songs I compiled, and decided to just put them all out at once as a double LP, instead of doing a conscious LP, and a hardcore dark LP, I just mixed them up and tried to balance them out.


HHUG: Your debut album - Beyond The Speed Of The Mind: Reincarnated - was entirely produced by Panik of the Molemen production group. What can you tell us about the production of BBD noticing it features an array of different producers?

Atma: Well after dropping Beyond The Speed Of The Mind in 2006 with Molemen, I ended up meeting so many people on the internet, so many artists and producers from all over the world. I ended up working with many different people as the next few years went by. I still have some tracks produced by Panik on the LP, as well as newcomers to the underground scene with lots of talent, such as Vint Mentalz, Amos The Ancient Prophet, Lord Gamma, Anahata Sacred Sound Current, Blunted Sultan, and of course the single from Snowgoons, "Halls Of Amenti" and some tracks from the main producer of the Masta Buildas LP Reptilian Body Snatchas - Annex from The Society Of Invisibles.


HHUG: The album also features emcees, such as Sick Since, Rasul Allah of Lost Children Of Babylon, among others. Can you elaborate more on that?

Atma: These are artists I became friends with over the internet and some of them in person as well that. I did some collabs with Deep Souls with Great Minds, and we think alike as far as metaphysics and spiritual lyrical content. Sick Since, Rasul Allah, Vega X, Decipher, Sinister Stricken, and I put some tracks with my crew members Masta Buildas - Jahnigga Da Baptist, and Apakalypse on the LP too. All these emcees are incredible lyricists in the underground, and its always an honor to work with them.


HHUG: There is a track - "Soul Bendaz" - with Apakalypse produced by Stoupe of Jedi Mind Tricks that leaked a couple years ago and greatly peaked the interest of fans.  Why was the track not officially released on any project?

Atma: It was accidently leaked by letting a couple friends hear it, then it got leaked somehow or other in this way on the Internet. I met Stoupe in Chicago at a Jedi Mind Tricks show and we got in touch shortly after our meeting. He sent me a beat that was originaly supposed to be on the Decalogue LP, but it didnt make the final cut. Instead it will end up being released on a Masta Buildas LP coming out soon though.


HHUG: Surprisingly, last year another track leaked that shocked many fans. "Near Death Experience" is the track with Son Of Saturn aimed as a diss to Vinnie Paz of Jedi Mind Tricks. What caused the diss?

Atma: This was caused through a misunderstanding on the Internet. Vinnie Paz had threatened us, and we recorded a song because of it. We had the track up on YouTube for a week or so, and took it off, because the beef was stupid in the first place, .though we didn't like being threatened. We are both positive conscious emcees, and decided that we didn't want to represent ourselves in this way. It was all from a thread on the Internet where Paz said he hated people that had near death experiences because they were so full of shit. So I wrote him saying - "hey, you're full of shit" - then some words were exchanged and a threat was made. But the beef is squashed now, and the song will not be released on any LP.


HHUG: Being a member of  Masta Buildas with Apakalypse and Jahnigga The Baptist, and in August 2009, released Reptilian Body Snatchas LP, how was this collective formed? What can you tell us about the LP's bold title for those unaware of the reptilian agenda theory?

Atma: I have known Jahnigga since 2000 and we are both from Chicago. We have been good friends for a long time, then I moved to Miami in 2007, and I met Apakalypse. We became good friends as well, and in 2008 we all got together in Chicago and recorded the LP. At this time we were all studying the Sumerian knowledge, and the information on the reptilian agenda, the Illuminati, and ancient knowledge. So our lyrics were all about this andwe called it Reptilian Body Snatchas, with the understanding that we would snatch reptilians, subtle beings that are etheric and live off the life force and fear of humans. Snatch 'em off the spines of unaware sheeple who were being brainwashed through mass media hypnosis and evil masonic tricknology. There are many different theories on our origins as a human race. The Sumerian knowledge says that early hominids and Australopithecus had their DNA spliced by extra chromosomes by the Annunaki - a highly advanced extraterrestrial race from the planet Nibiru, which is in a 3,600 year elliptical orbit around our solar system. The Washington post actually announced the sight of Nibiru or Planet X in 1982, but it was never heard about again in the public. Many books have been written about it, and Sumerian knowledge has been deciphered in to English about it. We were all studying this information very deeply and decided to do an LP on this subject, as well as the shift in consciousness that will take place soon at the end of 2012, as we near the end of a 26,000 year cycle of the 4th sun, into the 5th sun of the Mayan calendar. The planets will align with the galactic equator of the Milky Way, causing a pole shift, and mass coronal ejections of the sun, that will affect the entire energy grid of the Earth. So having this knowledge, we decided to share it, and continue to do so. We are not alone in this universe. I could write a book on this subject, but I encourage people to do their research on this and prepare themselves spiritually for the consciousness shift coming to this planet.


HHUG: Your debut solo album and Reptilian Body Snatchas LP with Masta Buildas were released under Nod Records. Why did you decide to release your latest installment - BBD - under LCOB Productions?

Atma: We are still cool with Nod Records, but LCOB Productions had a better promotion deal, so I signed my LP with them instead. Nod Records also just released some tracks we did in 2009 on an LP last month. It's an Atma Apakalypse Masta Buildas LP. It's on CDBaby.com right now for sale.


HHUG: What future plans can fans anticipate from Atma?

Atma: I am currently working on the next Masta Buildas LP produced by Panik of Molemen, with Apakalypse and Jahnigga. It should drop by the fall of 2011. And I'm also working on my next solo LP produced by Panik as well. Be sure to cop Atma Beyond The Speed Of Mind, Atma Beyond Birth And Death, Masta Buildas Reptilian Body Snatchas, Masta Buildas, Apakalypse and Atma LP with Nod Records, Apakalypse Trust In Self (featuring myself), Son Of Saturn Apotheosis (featuring myself), all on iTunes for digital download.


HHUG: Any closing thoughts?

Atma: "As we pass through a major transition coming soon, there is a colossal,
global convergence of environmental destruction, social chaos, war,
and ongoing Earth Changes. but Humanity will continue, but in a different way.
Material structures will change. From this we will have the
opportunity to be more human. We are living in the most important era
of the Mayan calendars and prophecies. All the prophecies of the
world, all the traditions are converging now. There is no time for
games. The spiritual ideal of this era is action."
The indigenous have the calendars and know how to
accurately interpret it -- not others. The Mayan Calendars
comprehension of time, seasons, and cycles has proven itself to be
vast and sophisticated. The Maya understand 17 different calendars
such as the Tzolk'in or Cholq'ij, some of them charting time
accurately over a span of more than ten million years.
All was predicted by the mathematical cycles of the Mayan calendars.
-- It will change --everything will change. Mayan Day-keepers view the
Dec. 21, 2012 date as a rebirth, the start of the World of the Fifth
Sun. It will be the start of a new era resulting from and signified by
the solar meridian crossing the galactic equator and the Earth
aligning itself with the center of the galaxy.
At sunrise on December 21, 2012 for the first time in 26,000 years the
Sun rises to conjunct the intersection of the Milky Way and the plane
of the ecliptic. This cosmic cross is considered to be an embodiment
of the Sacred Tree, The Tree of Life, a tree remembered in all the
world's spiritual traditions.
Some observers say this alignment with the heart of the galaxy in 2012
will open a channel for cosmic energy to flow through the Earth,
cleansing it and all that dwells upon it, raising all to a higher
level of vibration.This process has already
begun. Change is accelerating now and it will continue to accelerate.
If the people of the Earth can get to this 2012 date in good shape
without having destroyed too much of the Earth, we will rise to a new,
higher level. But to get there we must transform enormously powerful
forces that seek to block the way."