by SCOTT C

The way the story goes, Halifax transplant MC Josh Martinez was at Steve’s BBQ in Austin, Texas a few years ago, waiting patiently in line for some of their legendary brisket, when the 20-deep Oldominion crew rolled up in a van and piled out like a magical rap clown act. One of the dudes in the van was Sleep, another MC who happened to make the same order as Martinez. Long story short, Sleep scooped Josh’s order when it came to the counter, which of course lead to a scuffle, and when the dust settled, the two agreed they both had a great love for BBQ brisket and chicken, as well as underground hip hop, and the Chicharones was formed for the good of mankind. The Mirror spoke to Josh Martinez over the phone from his bed, in Vancouver.

Mirror: You would be a good guy to ask what the actual perks of being an independent hip hop artist are, right? So what are they?

Josh Martinez: (laughs) Yeah, I guess I’d be a good person to ask. I’m not sure. Other than creative freedom, I don’t know. The majors aren’t doing the things that they used to do, signing 10 acts and hoping that one of them breaks. They’re not even taking that risk anymore. People I know who’ve got involved with the majors have watched things go from an opportunity to a burden in no time. I could have chosen a thousand other professions that would have been more lucrative, but I’ve unfortunately put so much time into the life of an MC that I can’t really turn back now.

M: You have the advantage of having lived in the Eastern part of Canada, the middle and now the West. Was that part of some larger plan, to go back and reap the seeds that you planted along the way?

JM: I definitely think it’s part of my growth as a person, and as an artist. All of us Halifax boys have left, for one reason or another. Mainly because we couldn’t keep playing to the same 60, drunk, rural Nova Scotians that were supporting us. I spent a year in Montreal while finishing my degree, and it seemed to be at a time when hip hop was having a schism within itself, whether the white-boy rap that was coming out was a complete anomaly that needed to be squashed, or if there was some value to it. People seemed to be into more traditional boom-bap at the time.

M: Did you get a better reception in the West?

JM: It’s Canada’s California. It’s where all the malcontents, screw-ups and people who don’t know better come out to. In terms of hip hop, it’s more open here, and there’s no established guard. There seems to be an easier acceptance of the fact that there’s no norm, but you have a bit of a flaky scene here, don’t get me wrong. Sometimes I’m at a terrible show, and all I want is that Montreal vibe where the audience tells you you’re bad, but instead you have hippies clapping like it’s the second coming of KRS One.

With Skratch Bastid at la Sala Rossa tonight, June 22, 9 p.m., $10

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