Interview with Ecid
(photo by Ian Zuppan via MySpace)
Junkies, psycho killers, deadbeat parents; Minneapolis MC Ecid’s themes are anything but sunny and whimsical. The Minneapolis-based up and comer has a fascination with the seedier side of life, which he has documented in his recent concept album Red Beretta. Prior to leaving for a whirlwind West Coast tour Ecid discussed the new album with Culture Bully’s Jon Behm, describing the formulation of the album’s themes, the closing of Minneapolis’ Dinkytowner and the question of hip hop as a counterculture.
Jon Behm: So, did you grow up around here and how long have you been rapping/producing on the local scene?
Ecid: Yeah, I grew up in the Northeast suburb area. New Brighton and then Blaine. Oh man I hated living in Blaine. I was so bored; it made me pretty creative though. I started becoming a pretty active member in the “scene” around 2002.
JB: Your record this year, Red Beretta, is a concept album that documents “the bizarre events that turn a modern day hero into a monster.” What made you choose that theme?
E: It’s kind of a funny story. I started making a lot of beats that almost weren’t intended to have rapping on them, they were very cinematic with tons of layers and switch ups that sounded like bad ass ’70′s film scores. I knew that was the direction I wanted to go musically. But I didn’t figure out what to do content-wise until I was designing some t-shirts that had a little red gun on them and the light bulb just came to me. I just knew exactly what I wanted to make: an album that played like a movie about an anti-hero sort of character, “Red Beretta.”
JB: Throughout your new record you create characters like child molestation victims, unloving mothers, washed up old people, and other sad cases. Where did you find the inspiration for such bleak perspectives?
E: Aside from the fact that my life was an absolute mess when I started writing the record, I’ve always been fascinated with the fucked up parts of life. I just find beauty in it. No matter how much you might not want hear it, these things really happen. All of these characters are the people that helped make “Red Beretta” who he is: a psychopath. I couldn’t write a record about someone who goes crazy without showing all the pieces that contributed to it, because then it would lack compassion. At the end of the day “Red Beretta” is a story of revenge and liberation. Someone who had enough and just said fuck it I’m not going to take it anymore. There’s a million layers to this thing. I could talk about forever.
JB: Can you analyze further what you mean in the line “The revolution sold its own fist”?
E: Well, you see people wearing Che Guevara t-shirts that don’t know dick about his cause. Every movement gets commercialized. They turn into the latest fashion. All the people that were marching in the ’60s are in suits now or retired. To me when people talk about “Revolution” it’s a joke. Don’t talk about it, do it. The song as a whole relates to the character realizing this. Realizing his movement is just the fad of the week. A news story or entertainment…
JB: What are your short term plans for your music career in the Cities? What comes next?
E: This year we’re (Fill In The Breaks) releasing a few more projects. The David Mars solo record, another Sector 7G project and then I have an album with LA underground legend Awol One coming out in October too. So it’s gonna be busy. We’re working on some top-secret big events for the end of there and beginning of next year. So I’d say I’ve got big plans.
(uncredited photo via MySpace)
JB: Minneapolis’s Dinkytowner was considered a consistent place to showcase upcoming local hip hop talent. Any thoughts about its recent closing? How do you think it will affect things?
E: I loved the Dinky, it was really sad to see it go. It was a great place for hip-hop, absolutely one of the better underground venues in-town. But as for myself and my career it’s a good thing, I was sick of playing there and I know my fans were sick of seeing me there. I definitely think it hurts the up and coming groups because it was a place every body could get a chance at, but I also think it will help weed out the people just doing for a hobby.
JB: Michelle Obama recently said in an interview that she wants her daughters to be “aware of all kinds of music other than hip-hop.” Do you think that there is still a prevailing fear of hip hop in America, much like there used to be of rock n’ roll?
E: First in defense of Ms. Obama, I think she’s right, no one should listen to just one genre of any kind. It’s boring and dense. Now as far as America being afraid of hip hop. Shit I think America is still afraid of rock n’ roll! Even though it might seem pretty accepted these days. I think America will always be afraid of any kind of counter culture. I think the one funny thing about hip hop though is that we always seem to victimize our culture and make it seem like everyone always points the finger at us. Fuck it give ‘em the middle finger back and be a rebel. Isn’t that what hip hop and even rock n’ roll are about?
JB: On the same note, do you think that hip hop’s relative notoriety gives it more power to influence than other musical forms of expression, simply because it has that edge?
E: I think to a point it does, mainly because the lyrics and the way it’s sold to kids. I think videos probably influence people more than the music. That’s where you see all the stuff you don’t have but aspire to, because MC so and so had it.
JB: Do you listen to music besides hip hop at all?
E: Yes sir, well I dig a lot of jazz/rock/funk from the late ’60s early ’70s but lately I’ve been into all types of newer bands/groups. I’ve been into Kings of Leon, the Kills, the Black Keys, Sharon Jones and the Dap Kings, Why?, the Menahan Street Band, the Budos Band, Antibalas, Mogwai, Ratatat, Nomo, Shawn Lee, and a bunch more. As far as hip hop lately, I am really digging the new Myka 9 record and the new DJ Signify.
