Slight Motif Issue No.8 by Slight Motif

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TABLE OF CONTENTS 10 We caught up with the former trio, now duo hip-pop group to get a catch up on how their past tour has been, the new dynamic and plans for the coming future.

20 Faolan Carey for PHOTOGRAPHERS CORNER In Photographer’s corner, we feature Faolán Carey, a young Dublin photographer who discusses his work in a contrasting light to the theme of this issue.

FaR COLLECTIVE

Another very active set of artists that kicked the doors open for themselves last year. Join us in the science gallery to talk about all their individual plans and goals for the future. 2

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Rebecca Fahey Dublin grown Photographer and Graphic Designer recently relocated to New York City in the search of better opportunities. She highlights the drastic change and difference in creative climate of both cities.

Kaé vs Karen A young ambitious Karen talks about her alter ego Kaé in regards to music and how this version of her has helped her on the come up in 2019.

Playlist of the Month

Another collection of music from the Island that we’ve been bumping the month.

50 Mango x Mathman Pioneers in the drastic change of Irish Hiphop talk about their recently released album Casual Work and how the music industry has developed over the space of 8 years.

CREDITS - 56

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EDITORâ&#x20AC;&#x2122;S

CORNER 4

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This might have been the longest break taken between magazine drops. A whole wave was occuring around Issue No. 7. So much has happened in the space of a year, both in the scene and worldwide in general. Discussions around the idea and theme for Issue No. 8 began way back in August 2019 and it’s still somewhat relevant today in whichever artsy way you’d look at it. To make up for our long break we had a lot planned to accompany this drop but executing these plans meant we had to keep extending the drop. Maybe the situation we are currently in would explain why everything was moving so slow. With everybody currently on lockdown; this brought us back to working on Issue No. 4, 2018 when the whole country shutdown due to a bad weather report. It felt like a calling for us to go back to doing what we love doing. Thank you all for your patience, it’s finally here! The theme for this issue is layers; to play on the cold weather at the time. There’re layers in everything we do. There’re layers involved before any project is executed; so many! There’re layers within professions or the lifestyles people partake in; do not take things at face value. There’re layers to something as simple as a provocative tweet to the random actions people follow them up with. We have learned this all the way through from the beginning of collating the work for this issue, to me typing up this section. The direction around “Layers” was posed in every editorial and feature as usual. We had a chance to sit down with pioneers in the music scene and just only some of the new wave of artists that emerged 2019. Hare Squead have encountered change and are moving on with this change with the Minor Gangsters tour and their latest EP. Mango and Mathman discuss their album and their view of the new wave the scene is currently experiencing. The FaR collective, a hungry cheeky bunch arrive at the studio and give us a laydown of the FaR movement. We were able to talk to Adaeze before she left the group. We get creative with another hungry new artist; Kaé in ‘Kaé vs Karen’ as she talks about the two sides to herself. Rebecca Fahey recently moved to New York from Dublin to continue on a path in photography. Finally this issue’s Photographers Corner features Faolan Carey, a young Dublin-based photographer who gives an intimate insight into his approach to film photography. We’d like to send a huge appreciation to the artist that we featured on this one and thank you for all your cooperation in partaking in any outlandish concept or way of working we have. Huge love to those who helped us put this one together, we couldn’t have done alot of this without you. Lastly, thank you, the readers, the “glance-throughers” and supporters that have been with us through this journey and waited patiently for this one. We love you all and have many things planned once this phase wears off. For now, stay safe, contact your loved ones and tell them you love them! Have a good read. Issue No.8 out now. Joseph Adegbemi 5

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Written by Joseph Adegbemi - @unclebounce Photography by Tobi Isaac-Irein - @olutobii

The Workmans bar has a backstage parlour? I mean of course it would but it never dawned on me for some reason. A pretty cool & gritty one to add to that. This was a delight since we had been running helter skelter trying to get the Irish Alt Hippop duo a feature on the magazine. An inquisitive me arrived early and bussed straight in looking for this hidden section of workmans. Tobi and myself went through the main floor and to our surprise, caught the very well acclaimed Lilo Blues of HareSquead during his soundcheck; I mean, I don’t know why I was surprised it was their show, maybe it’s because I’ve never seen Lilo blues on his own for more than 30 seconds. There he was though, testing the mic, playing with an electric guitar and mid performing his music as well as covers such as “Baccseat” by Roddy Rich. Tony Konstone, the other half of the duo, better known as Screwface Jax, hadn’t arrived yet. I was expecting to see him first; I really should stop expecting things. Screwface had been my main point of contact if not their manager, Phil Wrenn, who was also present and in fact let us into the main room. We waited for Lilo to finish his soundcheck and headed off with him to the backstage room. “I can ramble a lot but I really don’t want to ramble” is Lilo’s first response when we begin to record. Right now we are finally backstage after going through a tiny door from the mainstage. Everything looked aesthetically turned down from the room itself, to the toilet and hallway. The walls leading up to the room from the mainstage were white and filled with signatures from various irish acts such as Kojaque, Kneecap and many more. 12

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The grungy decor went from the hallways all the way down to the toilet stalls. Even the mirrors in the toilet got some action. About 2 of the stalls were broken down and the main room had broken down light bulbs; It’s almost like they were left like this on purpose to add to the aesthetic. “I’ve been told to be very specific and not ramble a lot,” Lilo continues. Haresquead were previously a trio made up of Lilo Blues, Screwface Jax and Jessy Rose. Jessy had to leave the group for personal reasons. The first topic I posed to Lilo was basically around the group’s growth and how it’s been one man down. “The thing is as you grow, you don’t really notice yourself change till you actually look back, I can’t really pin-point when exactly there was a shift. Myself and Tony always made music.

“I think the dynamic changes definitely from being a trio to a duo” Lilo explains...

We met Jessy when we were making music together. It was all very collaborative and that nature was always there before the trio” Tony Kostone pounces in at this point wearing a purple tee with a, white long sleeve inner tee and purple bottoms. Lilo pauses to acknowledge him and continues “That dynamic was always there. We still make music the same way I guess but with just one less person, who was a very strong vocal dominant character however, Life goes on...” 13

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“That’s sick the way you have the white long sleeve” Lilo compliments Tony on his arrival-fit to which Tony replies. “This? Nah I’m taking all this off, the only thing I’m going to wear is this” Tony points at the bag he brought in with him and Lilo understood. As mentioned, I had already been in touch with Tony on many occasions prior to this. I had also posed the question on going from a trio to a duo to him previously as it is an obvious change for the group. Tony’s answer would be similar but he would further explain that Haresquead is more than a trio or duo. “It’s a family man, brothers, we just make vibes together you know? It’s not even just on the music side. We live life together. Try to push each other to do the best that we can in any way, any aspect of life be it sport, business, anything really.” Tony had mentioned how people like DJ Kenzo, who was present in and out of the room alongside some members of the Sicko Dublin crew, play a huge part in what Hare squead is about. Tonight was the last leg of their European tour; the Minor Gangsters Tour, The boys were able to perform at four cities in Europe to which I was sure they’d love to talk about. “Never got to do this properly. But we finally got to see our own fans and how a HareSquead crowd is.” Tony says. “It’s very exciting. I think London was the first time we got to see it properly. Paris had good vibes too but like London was obviously English speaking and that so they were able to relate with us way more.” Lilo comes in when he hears Tony mention Paris. “I loved Paris man, I didn’t expect that at all. They were wild as shit, we were told that they would be a bit hesitant at first, not so receptive but that wasn’t the case. It’s different when you perform in front of your own fans. I’ve been used to being a support act or festivals. Your own crowd is always sick. Can’t wait to see how it is at home.” 14

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“It’s a family man, brothers....” “Oh wow I didn’t know they put the paws at the back of the thing” Lilo digresses again but this time talking about Kenzo’s fit; which had the Hare Squead paws logo at the front and behind the top. At the time I wasn’t aware but Tony, Lilo, Kenzo and their videographer Jordy had the same fit but in different colours with the “paws at the back of the thing”. The term “Minor Gangsters” was used during their tour and also the name for one of their singles after a certain politician called them those exact words during a political campaign. “That fuck n*gga.” Tony discusses this British politician and the whole incident. “Wait, you want me to speak about it? There was nothing serious to it. It was a summer’s day. We were going, where were we going? I think to get ice-cream or some sh*t. Walking towards the end of brick-lane and some weird creepy nerdy guy starts walking towards us. We had no problem with it cause we were like London is London it’s whatever.” The politician decided to record the boys for his campaign as an attempt to win over a diverse crowd; I guess, and ended up having an awkward encounter since the boys were not interested in being part of the video.“Two months later he had a

conference and made a remark about us referencing us to Minor Gangsters. How do you say that from a 20 second interaction with us? That’s very unfair.” Tony finishes and Lilo adds “I shouldn’t have paid any mind to that. I remember I tweeted about it, I should’ve just posted a link for Minor Gangster Tee shirts and stuff and made money off that. Speaking of twitter, I commended Lilo on how active he was on Twitter during the odd times putting out his opinions on anything as a twitter veteran would to which he replied “Nah it’s not cool, artists don’t do that but I just can’t help it. I joined twitter in 2010/2011. That was an obnoxious era, anything you see or think of, you tweet. People joined twitter at a time when it’s sensitive and everyone is talking about one thing or giving their opinion on one thing.” Tony had left the room again at this point probably to get his soundcheck done. Still on the topic of twitter and opinions, I asked Lilo the golden question of the past two to three years. His opinion on the irish scene to which he replied “Everyone loves this question, I just think it’s blooming. It’s growing. That’s all I’m gonna say” and that’s really it, because I did have to leave them to get ready for their final show.

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Check the Youtube page to see the boys talk do’s and don’ts when performing + the cities they visited during the tour. SUPERWEIRD the EP by Hare Squead out now.

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FAOLĂ N

So let me tell you about myself very simply and very briefly. My mam and dad both spent a lot of time in the garden when I was growing up and by extension so did I. My mam also ran a little bookshop where I spent most of my days as a toddler. Later my parents separated and my dad moved to the south of France to work in landscape design. Every summer Iâ&#x20AC;&#x2122;d travel to see him and later to work with him. 20

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CAREY FOR PHOTOGRAPHER’S CORNER Written by Faolán Carey - @faolancares

As I’ve progressed, learned and tried to understand what type of photographer I want to be, I’ve had to look back at what surrounds me in my immediate life. Not at my social circle or my circumstances. Instead, at how I see my home life and daily experiences, the things that truly make me happy. 21

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I approach most photographs with as stripped back an angle as I can. Trying to attain a depiction that is true and honest to the subject. The big obstacle was trying to do that but then figure out what element of me was I going to bring to the photo. Where was my style and would I ever have one?

PHOTOGRAPHERâ&#x20AC;&#x2122;S

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I love earthy tones and natural but vibrant colours. I love the tactility of film and the feel of printed images. When I take a photo I try to put as much of my heart and memories as I can into it. There has to be a feeling of walking through a garden in the colours, a want to reach out and touch the image, or the feeling of sitting out under a warm sun. When I take a photo of a place thereâ&#x20AC;&#x2122;s a little part of every place Iâ&#x20AC;&#x2122;ve loved there in the image. When I take photos of people I want to establish the connection of a long time intimacy and friendship by showing a vulnerability only developed in such a relationship.

CORNER

PHOTOGRAPHER’S CORNER

- Faolán Carey

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PHOTOGRAPHER’S

- Faolán Carey

CORNER

PHOTOGRAPHER’S CORNER

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PHOTOGRAPHERâ&#x20AC;&#x2122;S

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Now as I write this I’m coming up on my 24th year on this earth. I keep a cat and a few cameras. My point in telling you about my home life is that I realised it is as unique to me as yours is to you. Understanding that was a big step in developing a path for myself as a photographer. I live a tender life enjoying the little things and lazing about the house in the sun. Not unlike my cat. It’s a tenderness I try to bring to my photography by using elements of key memories in my life. I strive for honesty in my imagery and that’s why I have been honest with you. There is a stripped back and natural feeling to my photography but hidden behind it are layers of me.

CORNER

Collective

FaR

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Photography by Tobi Isaac-Irein - @olutobii

COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE COLLECTIVE

FaR 30

ISSUE 8 Written by Joseph Adegbemi - @unclebounce Photography by Tobi Isaac-Irein - @olutobii

It took 8 issues down the line for us to finally feature our first collective (one with about 37 kids) and it turned out to be one of the most organised shoots conducted. Imagine the workload involved in

orchestrating a shoot for said 52 kids (completely disregard the estimates btw...). These guys were surprisingly professional behind the scene and right on time for their shoot at the Science Gallery.

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Following the last Slight Motif event; Send The Location and even dating back to the OnePlusOnes sold out show at the Button factory, it was only right we got the FaR collective on the next issue. The FaR collective, made up of various types of artists willing to develop their craft, made the unit pretty known in the space of one year; an advantage of having about 43 members in the camp. We were introduced to a member of the collective; the Peculiar kid, Dennie Valentino on “Peculiar Flex” by Evans Junior and Txmmy Rose. Later on that year, Dennie appeared on

“Independent” alongside two other members of FaR; UD and Ay0. More names and characters in the collective were introduced through various social media antics, events, singles and two EPs. We were able to have most members present at the shoot, especially those who released a body of work in the year; UD, Dennie Valentino, Backpack Blu, BoyW1DR and KEDO. We were able to have a chat with some of these artists to get an insight on them individually and as a collective.

KEDO

Adaeze, the only female in the group at the time, left the group a few months after this was documented. We also interviewed her on shoot day and released content with her since she is still somewhat affiliated with the group. “I had a groupchat with a bunch of my friends, we were bored one day and the name Valentino just came up”, Dennie discusses his name in the accenture room at the gallery. The others were in another room either blaring out music through my speakers, participating in the shoot or both. I decided to grab 32

Dennie, KEDO, Adaeze and UD one by one to talk about themselves, the role they play in the collective and the future for both FaR and themselves as artists. Dennie was the first I interviewed and possibly the first I had been in touch with. “We grew older, drifted apart geographically, but I kept the name Valentino.” Dennie continues “It’s a nice name and I had already been known by it. Some of the other guys kept it too”. FaR apparently originated from another group chat about music but was given its drive once Presidential

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BackPackBlu

Dennie Valentino

released. “FaR was always a thing but when me and Ayodeji released Presidential, the other guys felt more motivated to make something out of it”. The collective is composed of not just upcoming musicians but also photographers, videographers and beatmakers all coming together to improve on their craft. The group keeps growing in numbers and it begs to question; who has been prominent or who were the first few to be part of this growing collective. Dennie confirms “Out of those in the other room, it would be me, Debo and UD in that group chat. UD wasn’t crazy active but he had been writing. He really started making music this year”. Debo, aka, KEDO, who I learnt, was the collective’s manager. My first time ever meeting him in person he was taking a larger portion of the food which was supposed to be distributed equally in the “Up Next” music video by Dennie, to which the collective weren’t very pleased about. He was also blaring music at the Rosedale mansion, which was the location for the video shoot, and aggressively crunking on a garden table. This same Debo was very responsive and a completely different character

when the crew had to perform at a TebiRex afterparty in Wigwam. “I got stuck with it” Debo explains why he ended up taking a managerial role; “We released independently, got approached about performing , there was miscommunication between everyone so I was voted in to handle all that”. It was pretty clear to me that Debo, the artist,had just as much energy as the others to release content but the managerial side of him would have to put all that energy on hold. He confirmed all my suspicions to me “I had

to put a lot of my stuff on hold. If I had focused on my sh*t, I wouldn’t be able to pay attention to the others” Debo continues “for the first few months, people didn’t know I was also an artist. Everything is getting better though as everyone is growing into their own strengths. “Oh we’re recording? Say swear!” Adaeze subconsciously walked into a role.

FaR COLLECTIVE

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One which was arguably just as crucial as Debo’s; She was the only girl in the group and from what I had learned from talking to her, the oldest in the group. “I always loved music. I noticed it was mostly guys doing it and there weren’t many girls doing it”. The Nigerian-South African and Irish song-writer was approached by more or less the forefathers of the collective. “I wrote raps for a good year. I was with, I think, UD and Dennie one day, I told them I write music and they were like ‘well we are doing this thing’”. Adaeze is featured on one song released on Spotify, “When Harry met Sally”. It is probably the grungiest and edgiest song from the group by another member of the collective Backpack Blu; who was also present at the shoot. Adaeze, being the only girl in the group at the time described how this this posed its challenges but also gave way to many advantages. One being the fact that “there aren’t many females doing what I am doing”, she emphasizes, not to mention being packaged alongside a collective at the time. “It can be hard for me sometimes”, Adaeze says,

“If I feel a way about certain types of things from a girl’s perspective, it’s usually hard to vocalise when I’m the only girl. If I bring it up with one of the guys its calm but trying to put forward a notion in front of the whole pack it’s always ‘naaaaah!’”

The mindset is indeed similar to the other members but UD seems to work on having a full package that ties in well with the music. “You like your favourite artist for more than the music. If all an artist offered was the music, that is all you’d like them for”

UD and BoyW1der had arrived much later. It was halfway through the day. UD, myself and a few others went to get lunch. “I make art and art is really nice to be made”, UD begins talking about himself while we walk down Pearse street. “I feel like its more than just making music, I want to do whatever I want to do”. UD’s approach is more abstract than the other three but pretty much similar mindsets. There have been four singles released so far, from FaR, under UD; Independent, Odinmma, Cool Kids and HER. If it isn’t music, UD would remain active in modelling and the occasional reckless tweet via igbopapi. “Modelling was always minor. Oneplusone gave me a little push with it. If you’re trying to make alternative music, it should always fall in line with how people perceive you” UD talks more about himself.

The collective has the whole year ahead of them. With different characters in the band and different approaches to music, they all

have the same goal and aim to make their individual selves very prominent this year. We will be on the lookout for more content they have to offer. Motif or Dead Motif by Far Collective out now on the Youtube page

Adaeze

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FaR COLLECTIVE

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REBECCA FAHEY

Photography: Rebecca Fahey Model: Malika, EMG Models

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he Irish government was more interested in tourism, building hotels and getting rid of spaces for creatives.

uring my college years, I always knew I wanted to move to the states to start my career as a designer. In college, I personally felt my work was too out there and didn't have a category to put it in. Also the lack of cultural and creative resources in Ireland for young artists and musicians, I felt I didn't stand a chance with my work. There is an evolving art scene in Dublin which is so close and dear to me, that let me express my visuals, It really made me more comfortable with collaborative space. The Irish government was more interested in tourism, building hotels and getting rid of spaces for creatives. Even finding a design job for myself was a rarity or nonexistent with employers.

Moving to New York was such a stressful yet rewarding experience for me. Living for the past 22 years in Ireland, it was at first such a culture shock to me, everything I knew and was so used to doing was turned into a clean slate. Once I got past all of that and settled, I realised I had nothing to lose. The most significant thing that comes to mind for me over here is; It’s busy. It’s not called the city that never sleeps for no reason. I’m constantly working over here, my life just keeps on moving and I don’t get a break. After a few months, I was able to adapt and became more durable of my surroundings. New York really does make you or break you as a person. There are so many opportunities for collaborating and working. I was able to work with fellow creatives here. I feel more confident to wear what I want and to express myself here without getting some weird glares on the bus. Meeting creatives over here, hearing their own stories, their struggles, their determination to survive in an extremely expensive and cut throat city really made me relate and humble myself completely. I don’t feel as small here as there are so many creatives over here that share the same stories as me. I personally couldn’t tell you what will happen with me in the next few years, will I be able to stay here or stay in Dublin. But I’m growing and thriving and that’s good enough for me.

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wwwwwwww ISSUE 8

Kaé V

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WRITTEN BY: JOSEPH ADEGBEMI PHOTOGRAPHY BY: APPOLLO MEDIA

but she is more intense than calm and collected. This personality trait she possesses would help with her getting her first video featured on GRM daily even with the initial hassle she had spoke to me about the night before the song dropped. From that, to more singles, an EP, shows and bookings at big festivals such as Longitude, Karen was able to get her presence pretty well known in the space of one year. “Okay maybe not calm collected, let’s say like fierce” Karen corrects herself.

ayers? The first thing that comes to mind is personality”, a fresh out from college Karen says while eating Jimmy Chungs on a wet, cold evening. We are at Costa Nassau street with Dami and his model friend, I forget her name, discussing Karen’s feature in the magazine.

The theme of the issue is Layers and normally, the theme would be posed to the artist(s) in a setting like this to see what is created from there. The conversation always ends up reflecting the artist’s mood no matter how outlandish the theme might be. Its like those doctors with the weird ink paintings asking you what you see in the picture. In this case it’s what you feel.

Alter egos are very common in RnB, Hip Hop and any music genre with an edgy flare to it. We are familiar with Beyoncé’s Sasha Fierce, Eminem’s Slim Shady, Nicki Minaj’s Roman and Tyler the creator’s Wolf Hayley. These alter egos from these artists would reveal themselves only sometimes in the artists brand or music. It is different so far though for Karen. Kaé is Karen’s persona in music.

“Relating to me, I feel like I’m a bit, like, there’s different layers to me. Everyone sees like the calm collected Kaé” Karen continues about what she interpretes of the theme. Everything was fine until she said calm, collected Kaé to which myself and Dami, a good friend of hers had to jest “who the hell thinks she is calm and collected?” I have worked with Karen in the past, especially earlier in 2019 during the CVC x Slight Motif event. I must say her workrate and drive is very admirable

“Kaé would be my alter ego, who you’re talking to right now is Karen. Karen is an everyday girl, Kae is a diva. Everytime I perform or anything that has to do with music, that is Kaé.” Karen explains inbetween munching on her Chinese. “Karen goes to college, she likes to paint, she likes to write music, she likes to read, I like to read a lot, I eat alot too. I love food”.

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Kaé was able to release a whole body of work last year Just Another Love Letter with about 11 tracks including singles Perfect and Can’t Love Me featuring UNQ. The album title and the singles already set a mood for what the listener would expect from the album, especially from an artist who draws close towards the RnB genre. “Its only in the album that Karen slipped out and it was only in certain songs. Like the more vulnerable songs like Selfish, Talk to you. The rest was Kae”

Raji Music and many more Irish acts. Moves Recording is on a much bigger distribution scale and works with artists like Naira Marley. “I only started that music this year. Once I got that deal, opportunities started coming in”. Karen was getting support for budgets with videos, from videographers, styling, venue, set-up down to clothing. Promotion for her content was also covered and pushed both in Ireland and in the UK. “I made so much connections through them and that will show later in the year ‘’ Karen continues “Another breakthrough for me was joining GxrlCode. I joined before I was an artist. Before Kaé was born” She joked. “Mona has been my number one supporter, she really helped put my name out there in Ireland. Also getting access to Longitude and Corporate gigs.”

On the topic of accomplishments in the year, Karen talks about all her other breakthroughs since she started exploring music and her alter ego, I guess; “Breakthrough for me was probably getting that deal with Trust it and Moves Recording”. Trust it Entertainment is an Irish record label that distributes music from the likes of Evans Junior, Far Collective, 44

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Kaé would be my alter ego...who you’re talking to right now is Karen. Karen is an everyday girl. Kae is a diva. Everytime I perform or anything that has to do with music, that is Kaé. 45

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So what’s in store for both Kae and Karen in 2020? A simple affirmative response is given before I even finish posing a question “Crossing over”. Karen wishes to grow more internationally, especially in the UK; which is more than likely possible when under a distribution label such as Moves Recording. “Bigger market, bigger influence” Karen continues regarding crossing over to the UK. “I feel like over here in Ireland, There was nothing challenging me. It was almost too easy. I really only started in February” Karen was able to develop herself in a small scene that needed an artist such as herself. Kaé’s intensity and drive helped her achieve so much in under a year “Talent is one thing but you really need the appeal and the drive to make yourself known”. The year is still young and we are excited to see what she has in store for us.

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P L A Y

of the m

Symon Sais

Good Time

Let Me In

Like I’m Barack

Backpack Blu, Soulsosa, UD

Plantain Papi

Tolu Makay

Haresquead

Party Alone

Boat Song

Shining

Pimpin’

49th & Main ft Travis

Matt Ó

Boy W1DR

Sequence, JugJug

Loyalty

CatFood

Chris Kabs

Eeddaayy

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L I S T

month Alone

Felt

You Know

Jab N Dipp

ARI.NOIR, Jyellowl

UD, Mick Jenkins

Slick Bullet, Dubzeno, New Machine

Trever

No Cap

Gone

Any Other Place

Andale

Evans Jnr, Andre Fazaz, Skars

Cubez, Reggie

MangoXMathman

Jeorge II

On The Estate

Cold

Jyellowl

Why-Axis

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MANGO x MATHMAN Written by Joseph Adegbemi - @unclebounce Photography by Tobi Isaac-Irein - @olutobii

Music,

especially

genre

such

Hip-hop has evolved rapidly over the past few years. The presence of memes, social media, music outlets and even the

surge

independent

artists

has played a huge part towards the accelerated growth of sub sub genres in sub genres of genres in. Staying on the topic of Hip-Hop, Boom-Bap/ Street rap would evolve into trap and then merge weirdly into RnB, Rock, Soul and Jazz while still keeping the Hiphop

foundation

intact

somehow.

Somewhere at that timeline, UK Grime, Base music and Garage was born. It seems like at this point was where Irish Hip Hop was introducing itself, to me anyway, and my first taste of it was at Longitude 2015 seeing an extremely raw energetic Mango Dassle performing on the Heineken stage.

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“I was going to studio

sessions, I was missing funerals. No money

in my pocket, No job, I was going out with nothing”

He would move from the stage, to the

and

floor to the VIP section in between

Casual Work Album, it was only right

performances of

to get an in depth into the minds of

and

what

both technical rap

sounded

Grime

swagger.

line,

the

came an

about from

Two

Slight and

rapper

years Motif that

Mango

down

the “Why is it called Casual Work?” Mango

year,

Dassle

thoughtful/celebratory

in Dublin.

magazine

same

very

two of the Godfathers of Irish HipHop

at the time with such raw admirable Dublin

the

asks

and

“For

working

the

generation

and

off

part

folks

time

jobs,

producer Mathman “Wheel Up” came out

working X & O’s, being on the dole, jobs

sounding like everything I expected;

here and there on the weekend, stuff

raw untarnished Dublin rap from Mango

like that.

alongside heavy duty production from

full time jobs and then in the evening

Mathman. 2019, The duo introduce us

or then the weekends, having to do the

to the Casual Work Debut Album which

music, the art, the label stuff. So

is again, everything I’d expect but

that was like working two jobs you know,

and

very casual.” Mango continues. We are

socially conscious content. In 2015,

at the Science Gallery for the shoot

I didn’t even know I’d be writing for

with both Mango and Mathman present.

a magazine that documents urban music

Similar to Haresquead’s dynamic, I had

in Ireland but these two had at least

been in touch with one member various

been performing on stages at the time.

times and the other was very scarce.

With the surge of Irish hip hop acts

Mathman was the scarce one, Mango and

lot

character,

audacity

Also with us working two

ISSUE 8

the

shoot.

for

he,

and

Casual Work

I had been in contact about

years

Everything

was

sure

nods to

towards which

Mathman

replied

regarding a feature on

Mathman, had to say had

affirmatively “4 years

the magazine; I guess

to be documented. “Nah,

ago”

and

this

the

I wouldn’t be like yea

after

had

its

“It

Issue

perfect

was

time.

nothing,

what

continues

little

wasn’t

pause

also met up with him

do, we put so much work

started the album and

at Costa Nassau Street

in, I wouldn’t be like

continued

prior to the shoot to

yea its casual” Mango

album during the four

get a feel of how the

continues

years. We had actually

content was gonna play

the album.

regarding

over

the

written 16 percent of this album before we put

out; I knew there was a lot I didn’t know and

First time I ever saw

WheelUp EP out. WheelUp

had to ensure I didn’t

Mathman in person was

happened

surprise them too much

when

kinda

him downstairs to show

down

with

him

studio

Then

day.

with

the

shoot

day.

conversation from

the

Our

drifted album

was

went

where on

the shoot

get

and

that

slowed

things

the

were

album. touring

WheelUP

He seemed a lot more

which also slowed down

jovial than Mango but

the

album.

I learnt he was just

started 4 years ago but

This would then set the

pace and the type of

the interview process.

work.”

interview

When asked the timeline

11 or 12 every single

for

night”.

talking

about

climate

Jay-Z’s

social

Dublin

best

which

would

be carried out during

assertive

the

album,

during

Mango

production. wasn’t

consistent

working

till

ISSUE 8

“2012/13 HAD BEEN THE MOST ACTIVE THAT THE SCENE WAS. I’D SAY, THERE WAS A LOT OF STUFF HAPPENING AT THAT TIME. WORKING CLASS HAD COME OUT WITH RECORDS AROUND THAT TIME. OURSELVES WITH THE ANIMATORS AS WELL”. The conversation continues and

around that time. Ourselves with the

Mathman breaks down the lifestyle

Animators as well. We had just seen

of every independent artist; “Two

the tail end of the class As around

full time Jobs!. You have the job

that time. It was really active in

that allows you to be creative and

those two years and as Mango said, it

allows you to dedicate time and

kinda fell off a cliff and it wasn’t

funds and money to your art. The

until 2016 that things started to

other job is creating the art” Mango

kick off again.” So what caused

comes in; “working it, pushing it,

this dip? What was it and is there

marketing it, selling it, all of

a chance it would happen again? “I

that” and Mathman continues “If I

think people just got sick of it,”

come home from work at 6 o’ clock

Mango shrugs slightly. “Not sick of

any day of the week, I’m working

it, but I think people got tired of

till 11 or 12 every single night”.

banging their head onto a wall. There

The duo had been prominent for quite sometime now. Out of anyone we have featured, they would be one to definitely give a good scope of the growth since 2012 and even prior.

was no Slight Motif, or District Magazine, or SoulDoubt or Mabfield, there weren’t as many people taking things seriously. You couldn’t put your music on spotify, there was no bandcamp, maybe soundcloud or forums. There wasn’t any acceptance

“There was a dip, 2015?” Mango says

into the mainstream media. A lot

and turns to Mathman to confirm to

of people that had been working

which he replies “‘14 it started”.

for years were getting the same

I had asked them if the music scene

results. The introduction of all

had always been growing or was there

these outlets was massive”

a pause or stale point. “2013/14 there was a slow up,I think it was marking the end of some folks’ output” Mango continues. “The younger folks weren’t coming up yet and I say at late 14/15, there was a surge of newer art and people that are still talked about now”.

The current climate has been fruitful indeed. Although it’s not just independent musicians anymore, but independent artists in all sorts supporting the industry. This means, as Mathman illustrated earlier, two full time jobs. One would wonder if the workload of

Mathman adds; “2012/13 had been the

living two lifestyles would hinder

most active that the scene was.

or slow the momentum once more. I

I’d

say, There was a lot of stuff

posed this question to them to which

happening at that time. Working

Mango looked at me in confusion at

class had come out with records

first and replied

ISSUE 8 “Not a chance, Nah. We had full time

I was missing funerals. No money

jobs, and we made Casual Work. you

in my pocket, No job, I was going

know what I mean?” and Mathman adds

out with nothing, going to the far

“ Don’t be giving me any excuses

ass of fucking Ongar to record with

as to why you can’t create. If you

Rocky at the start of this. There’s

love this and you have a passion

stuff that we’ve sacrificed to do

for this, nothing’s gonna stop you

this. If you want to do it you’ll

from doing it” Mango finishes with

do it. Hustle out does the talent

“I was going to studio sessions,

everytime.”

ISSUE 8

それは軽い

ISSUE 8

Past Issues I to VII Available Online at slightmotif.com