Cappo is a prolific emcee and producer hailing from the UK whose last album, Genghis, was entirely self produced and his latest work introduces a new style and an entire new persona: Gusto Grizwold. We caught up with him to get his thoughts on working as both an emcee and producer, how he feels about diversifying, and some invaluable tips both for emcees and producers working with other artists…
Cappo: It’s good; we had a couple of problems with the CD manufacturing, because the ink on the CDs themselves was changed from the original plan and someone made a mistake at the manufacturers so they’ve gone back… but everyone who’s preordered up to now will be sent one of these CDs that’s not the ‘right’ colours, so although they don’t know it those CDs are super rare – there’s only about 30 of them in existence.
“Before Genghis I was a different artist”
OD: It’s funny how things work out to create these little special limited things.
C: It is yeah, the quirky ways that make things rare; sometimes it’s the tracklistings that change, or slight differences on vinyl or something… hopefully if Gusto goes the way I want it to it’ll be something that’s worth its weight in gold [I’m already treasuring mine – Chris] so to speak.
We did the launch in Notts the other day and had lots of people come out to support and that was a good feeling, because the new music is a new type of sound for me – stories about my life and such – but people seem to have received it well, although it’s not the same as a Learn to be Strong or a Fire With Fire type track, but people who purchased one then will be amongst the 30 or 40 with one of the rare originals, so that’s good.
OD: So as you say, the Gusto Grizwold persona is a little different to what you’ve done previously, and I’ve seen you say the Genghis LP was your ‘opus’… would you say that working on a project like that for so long [2010’s Genghis was the first official solo Cappo LP since his 2003 debut Spaz the World] helped you to turn over a new leaf?
C: Yeah it did, you’ve hit the nail on the head there exactly. Before Genghis I was a different artist. In a lot of ways I was frustrated about how music was going and how things were working out, and I think people who are frustrated haven’t reached that certain point where they’re at ease with themselves because they’re working as hard as they can or they’ve achieved what they want to achieve. Genghis took a long time to make and there was a lot of meaning and a lot of enigmatic flows; it was a lot of my life at the time. When it was finished I saw the matrix of my own music and I achieved something that I didn’t think I was going to achieve, and it was a point in time when I needed to do it for myself, really, nobody else, just to prove I could do it on my own. I learned so much from the album, not just performing it live but the promotion around the release and stuff that gave me a lot of insight into how I wanted to do my music from there.
“I want to see where I can take things with the same formula and the same ethics as hip hop, but changing up the beats entirely”
At the same time Styly Cee and I were doing the Fallout album, so had that as a ‘backup’ after all the detailed, intricate production and lyrics for Genghis I had The Fallout lyrics to let things go and work out a bit of difference in my music. More and more I’ve been working on being as prolific as I can, and for the new stuff, pattern wise I want to change things up drastically. I’ve done a lot of tracks in a 4/4 signature type of beat, and whenever I hear something like that in that 4/4 style, that’s my heart, where I grew up and what I know – so it’ll always be my homeland in music, that’s me. But what I’m trying to do is expand myself. I’m 32 now and I’m trying to expand on my production and my rhyme flows; my rhyme flows are more important than anything and I need to keep rejeuvenating them and to keep things moving on. It’s like what Styly said when we did The Fallout, he’s ticked all the boxes of things he wants to do with hip hop so now he’s making different decisions about what he wants to make, and I’ll say the same thing. From Spaz the World to Genghis I feel like I’ve achieved a lot, and I want to see where I can take things with the same formula and the same ethics as hip hop, but changing up the beats entirely and working on different soundscapes that will inspire me to bring something different out of myself.