BROOKZILL!: a hybrid musical project, part Brazilian street samba/part Brooklyn, NYC “old school” - defined by travel and transcendence, mapping out connections to discover that the heartbeat of both musical traditions starts in the same place.
Recorded over a 10 year period in Atlanta, Brazil, New York, Throwback to the Future is imprinted with the personality of its makers: Ladybug Mecca, Digable Planets MC with her effortless cool; the high-energy enthusiasm and eclecticism of “producer extraordinaire” Prince Paul; producer and musician Don Newkirk, with his strong Funk sensibility; and the gravel-voiced Brazilian MC, Rodrigo Brandão.
Listening to BROOKZILL! reminds me of a French verb that has no direct translation in English: dépayser which means “to feel disoriented” (or “have a change of scenery“). Lost in the English translation, though, is an idea embedded in the French that refers to taking your country out of you. As the spirited BROOKZILL! collaboration makes clear, there is definite joy and freedom to be found when there are no distinct borders or markers setting out the path. Most of Throwback To The Future is in Brazilian Portuguese (the first language of Brandão, and also Ladybug Mecca, who was raised by Brazilian musician parents in the U.S) with no translations provided. Sounds come and go, drawing on various traditions, creating surprising intersections, familiar and strange at the same time. Certain tracks are playful, with wry references to Hip-Hop; others are dark, sombre and mysterious.
None of this is meant to suggest Throwback To The Future is a tacky, exploitative version of musico-tourism; quite the reverse. In many respects the BROOKZILL! record is defined by its seamless fit, while also offering up a home-coming for Ladybug Mecca, who pays homage to her Brazilian heritage in a way that seems deeply personal.
During a recent interview with Ambrosia For Heads, Ladybug Mecca explained that the BROOKZILL! project was ‘about unity – bringing two worlds together that can transcend anything.’ She continued: “Lyrically we touch on subjects such as personal growth, love and transcendence, celebration of loved ones who have passed (but) unity summarizes it best.”
BROOKZILL!’s Throwback To The Future, with its unexpected guest-artist list (which includes Count Bass D, Del The Funky Homosapien, DJs Kid Koala & Mr. Len, Gil Scott-Heron’s long-time collaborator, Brian Jackson, and a number of Brazilian musicians, including some who had previously performed with Pharaoh Sanders) links the U.S. Hip-Hop underground with Brazilian music, while upsetting fixed notions of what a Hip-Hop-inspired project can or should be.
Ambrosia For Heads: Paul, you’ve said that this project is all about capturing “the essence” of the two musical genres – Hip-Hop and different forms of Brazilian music – can you develop this more?
Prince Paul: You know, a lot of times, especially nowadays people focus more on what a musician looks like, they go, “Yeah, I got this fabulous record out – with a video!” Everything is visual, everything is marketing and promotion. What we’re doing more or less is stripping this record back to the essence: the drum and the beat, which is both in Brazilian music and in Hip-Hop music and back to melodies and vibes and feelings.
The music is definitely the driving force: the melody, the lyrics, the feeling of the drums … It’s soulful, catchy, the music captures your spirit and soul in the moment and that’s where we have taken this.
All the tracks (on Throwback To The Future) have a melody, a vibe and a feel to them. I tried to make one of those records where you can close your eyes and go on a journey and see where it takes you, as opposed to: “Oh man, I’m gonna skip that track, oh man, this one’s horrible.” [Laughs] I tried to make everything feel and vibe a certain way and that to me the essence of both genres.
Ambrosia For Heads: How would you compare the Hip-Hop beat and the beat in different forms of Brazilian music?
Prince Paul: Rodrigo?
Rodrigo Brandão : Okay, I would say the 4/4 rhythm of Hip-Hop is like the bread of a sandwich. You can put anything inside that beat and it’ll fit, you know. If you do it the right way, it’ll fit. It’s the same with Brazilian music because if you do it properly you’ll see the African heritage, so the poly-rhythms of African music then translated to the Brazilian continent, which is a country but the size of a continent … The Hip-Hop beat is universal and I see that as the bread of a sandwich, and what we’re putting into the sandwich is what’s making it unique and very different.
Ambrosia For Heads: P-Funk is a key influence for BROOKZILL!, Newkirk, could you talk about this more?
Don Newkirk: I think that music from that era set the tone for hip-hop in general – that was the soundtrack, you could say, that the early Hip-Hop artists pulled from when they, or when we, started making Hip-Hop: it was that music from the ’70s; the Funk scene, James Brown, Parliament, Funkadelic.
Ambrosia For Heads: Could you break it down more, with reference to “Mad Dog in Yoruba” as there seems to be a strong connection there.
Don Newkirk: Definitely, especially with “Mad Dog [In Yoruba]” – the song is a great example of that influence: the horn arrangements, the groove itself, the drums. It all connects. The break element, that song is like a musical break, you know a B-Boy break almost.
When we started doing the horns, Paul was like, “Yeah that’s the vibe right there.” I think that certain things are ingrained so much in your subconscious it just comes out of you. “Mad Dog” is a good example of the B-Boy element, the Funk element from the ’70s. We didn’t set out to do it like that, it wasn’t like: “Let’s make this.’ After we made it we realized how much it borrowed from that vibration of the ’70s.
Ambrosia For Heads: It also has an Afro-beat vibe, linking with what Rodrigo was saying before.
Don Newkirk: Yeah, definitely. One thing I learned after Paul and I had the opportunity of working with the great Bernie Worrell – R.I.P. Bernie – music in general is relative. It doesn’t matter if it’s classical or funk. There’s always a relation in there, what you’re seeing in the Afrobeat and the Brazilian vibration, the Afro-Cuban beat like Rodrigo says everything starts with the drums, starts with the rhythm: it all goes back to African rhythms basically.
Ambrosia For Heads: The interplay between the MCs on this track is striking, can you talk more about this, Rodrigo, Mecca.
Rodrigo Brandão: Ladies first.
Ladybug Mecca: My verse is more rooted in the Hip-Hop genre, there’s not one particular subject matter, it’s touching on anything that came to mind. Rodrigo and I vibed so well, we were like brother and sister from the moment we met. It was just easy for us to conceptualize records and to throw it back and forth in the true Hip-Hop form. It just came very naturally for us.
Ambrosia For Heads: For those who might not know the language, what are you rhyming about?
Rodrigo Brandão: What I can say, basically, what I can say about this whole project is – we didn’t look to achieve a certain sound, or certain style, we just let it flow. After we looked at the baby to put on a name on it. Have you heard of Eshu?
Ambrosia For Heads: [Pauses] No, I don’t think so.
Rodrigo Brandão: He is probably the most powerful of all gods (in Yoruba culture), he has the power to do whatever he wants and change whatever he wants real quick, so this song in a very abstract and non-intentional way describes the power and the size of actions of Eshu. The track is about him and his power.
Ambrosia For Heads: Gil Scott-Heron’s main collaborator through the 70s, Brian Jackson features on “Nascido No Ceu” how did he get involved?
Rodrigo Brandão : Brian Jackson is one of those icons, you listen to your whole life. When you actually have a chance to interact with him, he’s just a dude, he’s your brother, like the coolest man ever. People like him should be the power in the world. If you have the chance to kick with them, to vibe with them, you just take it. Brian Jackson is one of those unsung heroes. His music with Gil Scott-Heron is so timeless.
He’s pretty much the fifth member of the group, the first show that we did at SOBs in New York, it was just the four of us, and Brian Jackson on stage.
Ambrosia For Heads: Was there any conscious design behind the way the musical elements were used in that song?
Prince Paul: Rodrigo touched on it and Newkirk, not just this track but the overall feeling of the album, we just played music for the sake of making it, which is pretty foreign nowadays. People go into the studio with a goal in mind, we were like let’s just make music so we gave Brian Jackson no direction. It was, take the music, whatever you feel is right.
A lot of the elements and the music is what the musician feels, just about the only direction I would give anyone is,”That! Repeat that verse! Do that stab over in this area.” [Most of the time] it was whatever they felt that was how we went with it. That translates to the whole album, it’s your soul speaking to the instrument. And that’s what I really think is the beauty of it. It’s like when we do interviews, people ask us to describe whatever, it’s really hard, because it just is. [Laughs]
Ambrosia For Heads: Can you talk about the recording process now, as the project took 10 years. And can you provide an overview of the record, do all the tracks use live performance, are some sample-based only, or a mix of both?
Prince Paul: I would say it's inspired by being sample-based. The melodies you hear, me and Rodrigo would sit down and go, “We like that. That’s the kind of vibe we want for this song. Let’s move it into that mode.”
Going back to the title, Throwback To The Future I have to reference doing things now and the way things used to be done. The easiest way to [complete the album] would have been like “I’m going to send you some beats and we can swap back and forth over the Internet, whatever.”
But we made a conscious decision to be in the same place at the same time so the distance is what made the process so long. Rodrigo comes to New York to my studio, we get the skeleton of it together, man, we go to Brazil with Newkirk to get the musicians, we go back to Atlanta. We go to Brooklyn to mix it, you know. [Laughs] Wanting to keep the tradition of us being together, it took a minute; when you’ve got families and life kicks in, you look up and it’s 10 years later.
Ambrosia For Heads: Newkirk has said it was very “old school” in that 95 % of the recording sessions had all four members in the same room, why is this important for a record like this?
Don Newkirk: I think it’s important for all records. The nature of music is communal; people are meant to be in the same room together. People used to hang out around a camp fire, or smoke a peace-pipe or sit on the plains of Africa with some drums and just go at it, have fun. Music is a communal effort, man.
As time went on [musicians] got more and more segregated, not just vibrational but that too. The creation of music became segregated and it’s an oxymoron when you think about it, because music is supposed to be something that brings people together. People come together and feel good, or feel whatever it makes you feel, it takes you on a journey …
That’s how we used to do it when we were younger. That’s why the further back you go in music the more feeling you start to pick up, it doesn’t even matter the genre. I don’t care if it’s Hip-Hop or R&B, there was more feeling because there was people in the room sitting there vibing and then there is an almost an angelic force when people are in unison, in a vibration it’s like a lot of angels and ancestors come in and inspire you.
That just doesn’t happen when you’re by yourself. It’s hard for me to work like that. I can’t just send people tracks, or people send me tracks and then write a song, you miss the full intention of it. You miss the complement of someone else’s words, or notes, or melodies.
Ambrosia For Heads: Mecca, could you describe the role Brazilian music played in shaping your delivery – remembering that you were raised by two Brazilian musician parents?
Ladybug Mecca: Portuguese was my first language and when I entered an American school, I started to learn English, but it’s interesting that I would still speak a combination of English and Portuguese as a young person and even in my teenage years. I think the use of both those languages naturally would affect my art and the way my thought process works, how to express an observation or feeling.
I don’t know how to put it into words … my use of space and pauses in my delivery is one way of saying how [this background] affects me.
Ambrosia For Heads: There’s a kind of private quality, a holding back and control in your work that reminds me of Brazilian singers.
Ladybug Mecca: [Pauses] That’s the first time I’ve heard that kind of comment. It’s very possible as for most of my life, the first music I ever heard was traditional old school Brazilian music, my father had a radio that was tuned in to Brazilian music. It was a constant for us. There definitely has to be a direct relationship.
Ambrosia For Heads: Could you choose a Brazilian singer who has a strong connection with what you do?
Ladybug Mecca: I would say Clara Nunes. I vibe with her a lot, everything about her story resonates with me.
Ambrosia For Heads: To close, “Todos os Terreiros” is surely the key track in terms of the record’s Hip-Hop/Brazilian hybrid sound…
Prince Paul: If anything shows the way Rodrigo and I worked it’d be that song. He’d come in and say, “This is what I’m thinking, these are the sounds I want to use.” I’d sit there and think, “Mmm, how am I going to work this in with head-nodding?”
One good thing about Hip-Hop and you can see this historically, you can put any genre in that 4/4 beat and it bangs, but this one I was actually scratching my head going, “Let’s see if this will work.” [Laughs] I said, “Yo, I’m going to do the opposite of what this rhythm calls for, because it’s melodic and soft which is nice, so let’s throw in some boom bap in there.” That’s the result of the two worlds coming together.
That track is all over the place, meshing spacey synth sounds and traditional Brazilian sounds and throwing in some occasional boom bap drums – with which, for me, you can never lose. It could be a wedding march and if you throw in some boom bap on it, it works.
Ambrosia For Heads: What are your future plans, I see you’re planning some tours.
Prince Paul: Our plan is to travel the world. And if we were able to travel outside the atmosphere and into the universe [laughing] we’d go there too.
Paris-based Australian journalist, Madeleine Byrne writes on music and politics. To read more of her work, included extended interviews/essays, and other Hip-Hop related writing, visit her website.