Sounds of the ATX Underground

Grunge music from the likes of Nirvana and Soundgarden quickly comes to mind when thinking of Seattle. Likewise, it’s tough to picture Detroit without immediately tying in Barry Gordy’s Motown Empire. That and Ben Wallace’s afro and superior rebounding skills.

Even Houston has a calling card — the “chopped and screwed” technique of slowing down tracks — which created a soundtrack for recreational codeine enthusiasts statewide. The point is if the young, fertile ATX hip-hop scene is ever to make a name for itself it needs a signature sound.

But unlike every major American city — save the Big Apple — this is a town with so many densely concentrated clubs and musicians that a singular movement couldn’t possibly rise to the top. It seems everyone influences everyone else.

In a city where the best places to catch live rap are a blues club (Antone’s), a metal club (Back Room) and a punk club (Emo’s), carving out an identity is a formidable task. DJs are a key starting point.

As the local spin-doctors evolve out of the club, house and hip-hop scenes, they are creatively mashing up music and turning profits like never before. Guys like South Austin’s DJ Blurray independently produce album-length releases, infiltrating local music shops and creating buzz.

Taking the music H-Town’s DJ Screw spawned and DJ Michael “5000” Watts mastered, Blurray has dropped more than 10 mix tapes since entering the biz in 2002. Southern Comfort 2 (available June 27) is his latest and most commercially marketable batch of “screwed and chopped” remixes.

With a connoisseur-crafted playlist of southern rap as his canvas, Blurray goes to work making Mike Jones sound legitimate as he chops and screws everything in his path.

“Personally, I think it’s about time this sound started getting national attention,” Blurray said in a September DT interview. “Austin artists are legit. Working at CD Warehouse, I’ve seen firsthand how much local love they get.”

While it’s true that local rap artists such as Tee Double may be on the national radar, styles sharply contrast between the indie rap of say, The Word Association, and the slick studio sound of Basswood Lane. The 512 players are getting play, but within a fragmented community lacking an identity.

Serving on the advisory board for the Austin Music Foundation, a nonprofit helping talent market itself, local veteran Tee Double applied his knowledge toward the local scene. He has hosted events such as April’s “Embrace Austin Hip-Hop” night at Antone’s, an open house spotlighting Austin’s deep talent pool.
While Double has taken important initiatives toward unification and local DJs are making ends through “screwed and chopped” means, the self-proclaimed “live music capital of the world” remains without a calling card style.

“This is a town of ‘pockets,’” local rap boss Bavu Blakes said. “It’s all about being relevant with hipsters and the mainstream, this town’s rappers have to hit up all the outlets.”

In a city with an indie counter-culture that’s mafia-esque in influence, the hipsters have collectively accepted hip-hop as hip. This thumbs up has allowed black music to flourish in the underground, thanks to support from hipster havens like Plush, the place to catch house DJs.

On campus, KVRX’s citywide signal has numerously spotlighted ATX flavor. Their award-winning, annual Local Live compilations always feature home grown talent (for this year’s 10th volume, Mr. Blakes himself rocked a session), as hip-hop has become a station staple.

The support is vital, but the word “indie” inherently means “not getting paid.” If Austin is to be a success, something has to light up urban radio. Carnival Beats already has.

Behind countless nationwide Houston hits is a banging beat from the local production team. We’re talking “Sittin’ Sideways” from Paul Wall, “Draped Up” from Bun B and Big Moe’s “Purple Stuff.” The two jams that made Mike Jones a household name in Montana (“Still Tippin’” and “Back Then”) were also Carnival Beats joints.

“All the Houston guys looking for a hit song dial 5-1-2 to get it,” said Mr. Blakes, “it’s only a matter of time before a local guy gets on with Carnival Beats and blows up.”

In other words, Austin is already on in a big way. Now it’s just a question of letting the masses know.