As we approach the end of the year it’s always great to reflect back on the artists that have really progressed in the past 12 months and acknowledge the work that they’ve been putting in. Glasgow’s LuckyMe records continues to go from strength to strength; forcing it’s way into the hip-hop world that it very much belongs in, but seems to be forgotten by too often. One of the label’s most prolific beatmakers, S-Type, released his second EP, Rosario, on the label at the beginning of the year, and it’s one that has retained it’s replay value throughout. Then, to finish off strong, the Edinburgh transplant has taken on the mammoth task of assembling the monstrous ‘The Rap Monument’, building it brick-by-brick and keeping the half hour track interesting as thirty MCs rip through a pair of Hudson Mohawke produced beats.
We caught up with S-Type yesterday for some rap nerd talk, discussing his work with MCs past and present, as well as the gigantic undertaking of constructing ‘The Rap Monument’…
You’re probably best known for your instrumental stuff, but how did you get started working with rappers?
Basically I started off doing songs with rappers. I’ve been making music for a long time but only really taking it seriously I’ve been with LuckyMe, but I used to work with rappers over the internet and stuff when I was a teenager. I actually put out a 12-inch when I was 17 on my brother’s imprint called Surface Pressure and the record, ‘Soul For Your Stereo’, was featuring Finale from Detroit who’d actually done some work with Dilla and people like that. So I’ve been doing stuff with rappers for a long time, but in the last few years mainly instrumentals and club stuff I guess. I think that’s definitely what I’m going to be moving towards for the next proper release, it’s going to be more rapper and vocalist collaborative stuff.
Why do you feel yourself heading in that direction?
Just because I’m a hip-hop head really, that’s mostly what I listen to, and what I’ve always been into. It just makes sense for me to be doing that. And also – not that I’m getting bored of doing instrumental stuff – but I just want to challenge myself to do more songwriting and working with vocalists, especially in person. So in the future I’m definitely going to be doing studio sessions and working with them. In the past when I’ve done collabs it’s been very much that I’ll send them an instrumental and get an acapella back – I’ve not got much input into [the vocals]. They could say some stuff that I might not like, or there might be stuff that they could try out. It’s kind of difficult like that so I think next time I’m going to be flying out to the States and doing sessions.