Words-Art Jefferson
Photography-Gary Lamar Askew II and Alcendor
Merriam-Webster defines an artist as “one who professes and practices an imaginative art”. Producer Alcendor qualifies for this title as over the years he has been a free musical spirit who has never been scared to delve into any sound experimentation to craft what has been drawn from his imagination. Taking electronic music and meshing it into a musical barrage of styles, Alcendor’s releases include “The End of an Age” (2009), “That Girl” (2009), “The Beauty of Summer” EP (2009), “The Long Strange Departures” (2010) and the “Daddy Care” EP (2010), which was a collaboration with fellow beatsmith ABF. Born in the US Virgin Islands, Alcendor grew up in Stuttgart, Germany before making a pilgrimage to Atlanta, GA and then on to Los Angeles, CA in the U.S. His latest collaboration is the King Station project with acclaimed opera tenor Victor Robertson. This moody, electronic soul sound is another work of art on Alcendor’s musical palette.
AJ-Talk about the origin of the King Station project with Victor Robertson.
Alcendor-I met Vic at Cafe Intermezzo in Atlanta, GA in the late 90’s I believe. He worked there and I would come in to write. I think he was already singing with the Atlanta Opera at the time. I hadn’t even finished building my studio yet, so there was no thought of working together. We became great friends, mostly because we share the same kind of humor. A lot of pop culture references and jokes. My studio was finally built in 2003, but I don’t think I approached him about working together until 2004. It started with one track, and we quickly realized we could really create something fresh. From there I started crafting as many new tracks as I could and I would send him music while he was on the road in other countries singing opera. This went on for years. This music has traveled a difficult path to come out. It survived our friendship falling out for about a year in 2006. Vic almost died in a near fatal auto accident in Atlanta two years ago. We’re very grateful to be able to release this music. He’s had a full recovery by the way.
Victor Robertson
AJ-Is there going to be a continuation of King Station with you and Victor?
Alcendor-That is definitely the plan. Ep’s, full lengths, concept albums, who knows. We seem to create very seamlessly, but that’s in part due to our “No Rules in creation” clause. We’ve already got some things stirring in the pot though.
AJ-You have always been a little experimental with your music which is shown in your past releases. Tell me a bit about your roots musically because I do know you have a range of influences.
Alcendor-Both of my parents are from the Island of Dominica in the Caribbean, an island of people who like to dance and have a good time. I’m related to Reggae singer Nasio Fontaine on my mother’s side. So from my first memories, music was involved. Roots, Dub, Reggae, Rock, Country, Disco, you name it. My father had an amazing stereo system he put together himself from Professional Studio grade equalizers and effects units and mixers. He taught me how to turn it on from a very young age. So I would go through his records and play whatever I wanted to hear when I could. But like my father, I pretty much listen to every kind of music.
AJ-You’ve spent time as a youth in Germany. Has living there had an impact on you in terms of your production considering that Germany has a history of electronic music which has actually been pretty influential on sounds from around the world?
Alcendor-While in Germany my father picked up a German copy of Kraftwerk’s “Man Machine”. Growing up, I didn’t even know there was an English version to the album. That album sticks out in my mind heavy, as that was probably my first introduction to digital style music. I remember how the sound made me feel. It was fresh and made me want to move. This may be the first time I’ve realized how significant that is to my own musical evolution.
AJ-Over the years, there has been a rise in the beat culture where many records are basically instrumentals to a degree without necessarily an emcee. Do you think that is due to producers feeling as if emcees aren’t really stepping up to the plate or is it just an evolution of the producer to kind of showcase what he/she can do as an artist?
Alcendor-I don’t think it’s necessarily that MC’s aren’t stepping up to the plate, but working with people can be hard due to a number of reasons including time restraints/conflicts, dynamic personalities, etc… But I think the main reason is just that so many people have the means to create right now due to the price of technology leveling the playing field and people have a lot that they want to express. You see more people recording their own vocals over their own beats. I love my collaborations but I also like to get into a zone in my studio and just get at it.
AJ-So what’s next for you? Can you let us in on any upcoming workings?
Alcendor-I have a free album going to drop within the next month called “Mr. Fukushima”. It will be posted at www.alcendormusic.com, and also www.theworksla.com. I’m also in the upcoming Mumia Abu Jamal documentary called “Long Distance Revolutionary”, which will release next year. More acting. More music. More creation. Thanks for the interview Art.
