Ghetto superstars

>> >> Obscure Disorder aren't livin' ghetto fabulous in MTL yet, but then again, who is?

by Scott Saxon

Y'know, it always gets me when an artist doesn't really understand that people know who they are. You've been around for a few years and put out some quality records, not to mention getting the nod from open-minded out-of-towners who are feeling your shit from halfway across the world. But still, sittin' pretty in your hometown, you feel like the bomb still hasn't fully dropped. Such is the case with the first and last word in Montreal hip hop right now, Obscure Disorder.

Obscure emerged following the international success of their DJ, A-Trak, in 1997, walking on promising but shaky legs. The shaky legs are gone, but the promise remains with A-Trak, Troy Dunnit, Eclipse, Logic and producer Dave One working hard not to become household names, but to release the best possible music they can. I spoke to Obscure as we relaxed over cigar smoke and Crown Royal at my place earlier this week

Another year wiser

Mirror: First of all, I want to know what Obscure Disorder learned in the year 2000. I know last year was good to you, but did you walk away from it with anything?

Troy Dunnit: One aspect I think is very different is that we now know what makes a good song. We've always believed in keeping our lyrics up to par, and maintaining a competitive edge within the group, but we used to just drop rhymes over a beat. Right now I think we're making good songs.

Logic: It's true because we used to just try to lay down our dopest rhymes without even taking the completed song into consideration, but now it's about being happy with the entire thing. We're trying to make songs that people feel and that's really what OD is about.

M: What about the live show? I know that wasn't always the first priority as far as the group was concerned, but has that changed?

TD: We used to get on stage and try to reproduce the songs as closely as we could to how they sounded on the record. Most hip hop shows you go to are the same songs from the record, only you understand less and the songs are not as good. So we've picked up on that. Rappin' is one thing, but being an MC controlling the crowd, speaking to the crowd, bringing the songs to life--it's a different vibe.

Get in where you fit in

Dave One: A couple of times we've played for my brother's [A-Trak] "raver" crowd (laughs), and they liked it, but it's not like they were hip hop heads. I think the type of music that we do is not always compatible with what A-Trak's fans are listening to. If you compare us to other groups where a lot of emphasis is put on the DJ, our sound is a lot harder. I think a lot of DJ types are thrown off when they see how rugged Troy, Eclipse and Kenny come, but I like that blend. It's like EPMD used to do. They were hardcore and they had an ill DJ.

M: You're like the guy watching from the wings at every show. What do you see from your side?

D1: It's true. I'm the only one who gets to see every show because I'm not actually performing, and I've definitely seen some progress over the last year. I still think there's room for improvement until I'm completely satisfied, though.

M: How does it feel to be part of the hip hop minority in Montreal that actually has the business part of their music together?

D1: Well, last year was a really big year in terms of structuring for Audio Research. The label is now fully legit, we got a significant advance from our distributor that allowed us to plan everything out nicely.

M: Are you guys starting to feel more of an obligation to contribute to what is not going on in the Montreal hip hop scene?

TD: Look at someone like Nelly. I don't even think it was a surprise that he blew. He had something that was accessible to New York, but it was different. On the independent circuit, we're doing well because we bring something different to the scene.

M: But you're not answering my question.

Eclipse: We're nobodies, man! People don't even know us here.

M: C'mon, man! That is so far from the truth. More people know about Obscure in Montreal than you think. That doesn't mean they like you (laughs) but they know who you are.

Regional kingpins

TD: Cats who rap in Montreal know who we are, but the majority of people listening to hip hop in this city don't know Obscure. When you make dope records and take people who are kinda into hip hop and make them rap fanatics, that's when you know you've made something happen.

D1: We don't have ghetto-superstar status in Montreal.

M: Do you want it?

TD: Hell, yeah! If we sold 10,000 records in Montreal alone, I would consider that "making it" at home.

M: What are you selling here?

D1: "2004," for example, was a bestselling 12-inch at both Science and Tabou, but that's still just over 1,000 copies sold per store. We've been working with pieces of vinyl from the beginning, though. When we do a CD, that might change things.

M: So basically it's business as usual, and if people in Montreal are feeling you, it's the same as someone in England or Japan that might be feeling you.

TD: We're trying to make good songs.

D1: At some point we're going to come out with another Montreal anthem. We all talked about it and we all wanted to do it--

TD: "We from Mont-Real, bringin' the real, blaze the spot..."

D1: I don't think it's gonna be on the next single we drop, but it's definitely in the works.

M: I notice you guys all up on that Southern hip hop shit, even though your own music doesn't sound anything like that. What's up with South Park Mexican?

TD: They gave him two-and-a-half mics in The Source!

D1: He's like a Master P type, running his own label and stuff.

TD: He's the biggest thing down South right now. He used to be the biggest hustler in Houston, then he got jerked and figured out a way to make money off hip hop.

E: The label...

TD: Dopehouse Records! (laughs)

D1: I really don't think Nas or the Lox are doing too well in Houston. It's those regional guys that make a killing moving units independently.

M: Now I see the connection.

Famous last words

A-Trak: There's not too many technical DJs who are working with rappers. Most DJs make a name for themselves on the battle circuit, tour, or make battle-style records. When I work with Obscure, I try to think of what can be done with scratching on this record that hasn't been done before.

M: You sound so serious.

A: It's my duty to come up with new types of scratch choruses or scratch solos every time we record, and I welcome the challenge. :

With Buck Rogers, Steady B and D.R. One at Tokyo on Tuesday, Jan 23, 10pm, $5