Krohme is the classic example of a force in hip hop who can do it all; from manning the boards for Obie Trice, Kool G Rap, Ras Kass, Ill Bill, C Rayz Walz, and many others, to stepping behind the mic himself, and launching his own label, Krohme is a do it all artist and upcoming executive. He has worked with people from all over the spectrum in hip hop and as he continues to build on his impressive resume, you will be hearing more and more about him.
Whats good Krohme? Thanks for taking the time out to do this interview...could you take a moment to introduce yourself to our readers?
Aight, Im a producer/emcee out of Alexandria, VA. Been producing for almost 11 years now, rhyming for about 13. I've done tracks with Kool G Rap, Sean Price, Obie Trice, Ras Kass, Ill Bill, Killah Priest, lots of other cats.
So you got your big break when you got a beat CD to GZA's DJ...I was wondering how did a beat CD being given to a DJ blossom turn essentially into the launching/beginning of a career?
It was the first direct contact I had with anyone, when you send off beat CD's it's thrown into a pile with everyone else. Sometimes you get lucky and they hear it and go, damn we gotta work with this cat but for the most part, it just sits around. When CityRich heard the beats, he began to tell other cats; its how I met GZA, started working with C-Rayz Walz, got in touch with R.A. the Rugged Man, Vast Aire, cats like that. It's like a snowball effect, someone is feeling your material and starts to spread it around, so the word grows.
Before you had been able to get your CD to GZA through his DJ, you had sent off beat CD's to a variety of labels and did not receive overwhelming responses. I was wondering what labels you sent material to and what their feedback to you was?
I sent CD's off to everyone; I would look online for addresses, inside CD's, wherever. Interscope, Def Jam, Babygrande. To be honest, unless you know someone on the inside, mailing off your beats, demos can be a waste of time. You really need to build your name up and then come back to the labels with the CD's when you have a little bit of a buzz. Early on, the response wasn't what I had hoped, no one got back to me, no one wanted to work with me because I didn't have any weight. I did receive one response though, from MF Grimm's Day By Day Entertainment and went on to produce 2 tracks on Grimm's American Hunger album.
What kept you from getting discouraged early on?
Early on I felt like giving up. No one was calling, writing back, it seemed like I was just wasting my time. I was working with some local cats and writing here and there but nothing was happening, I was doing the music but it wasnt being heard. I guess I'm stubborn, I felt like I've been doing it this long, why stop now? No one is listening but if I keep trying, maybe one day they will. We all have our ups and downs and through hard work and dedication, maybe Ill reach some ups...
Now that you've gained momentum, nothing has really been able to slow you down. What is it like to get to work with the likes of Obie Trice, Talib Kweli, Hell Razah, C-Rayz Walz, Royce Da 5'9, etc.? Most people would be happy if they worked with those people throughout a whole career but your list goes on and on...Ill Bill, Killah Priest, Ras Kass...
It's been blessing. These guys are legends in this industry and to be able to work alongside them, to have my name on the tracks with them is crazy. To have Kool G Rap or MC Serch call you up and tell you they're feeling a beat or a track is like the ultimate high, these are legends man and they're calling me up! When collaborating with these different artists do you find it best to get in the studio with them or do you take advantage of new technology which allows much easier file trading?
When dealing with schedules and location differences and all that, it's been easier to do work over the web. I'll pass a dude a beat; he'll record and mail the Pro Tools back to me. My schedule is becoming more and more hectic, so this is just easier for all of us and the song gets done. We usually vibe before we work on a song so the chemistry is there.
You worked with Ras Kass on Hush Little Baby, the diss song he did to The Game. Do you have any personal issues with Game and do you feel as though making a beat for this type of track could potentially pull you into a situation that you might not want to be a part of?
Naw, I don't have a problem with Game, I wasn't there when the altercation occurred and I don't know the dude. I think producers try to be neutral but sometimes being involved in a beef is inevitable. You're down with a dude and when that beef spreads, some cats won't work with you if you worked with so-and-so. But doing a track like that also has its positives, it becomes big and all of a sudden people are checking for you. Just so people know, I made that beat before Rass beef with Game, a lot of dudes thought it was made for that specific purpose and moment, but naw, he picked it out of a batch and recorded to it.
So shifting gears some you recently dropped All Praises Due a disc that shows you off as both a producer and MC. What did you want to give people with this disc?
I wanted to bring hip-hop back to '88. When you could listen to music that had a message and it wasn't just some dudes throwing together some songs just to get airplay and make money. I did this for the love of hip-hop and to let people know what Krohme is about. Every track on the album is unique but it has a similar theme, a similar feel. I would be making beats and go, yeah this is an All Praises Due joint, then start writing to it. Some of those beats that didnt make it on the album are already circulating with artists mainly because the next album will have a different vibe. I may release a few of the unused tracks though, I have a bonus joint for the cats who download it from the internet with Triple Seis of Terror Squad.
How has the response been to the project thus far?
It's been positive, cats are feeling the music, the lyrics, the message behind it and Ive received a lot of praise. Most people didnt realize I rhymed and are surprised, now Im getting people saying, yo I want a Krohme beat and 16! I appreciate those who have purchased the album and Ive personally autographed each copy sold, just giving back to the fans.
How did you go about selecting the different features for the project?
I wanted to work with artists Ive admired who would add to the track and not sound out of place. I may start writing to a beat and go, damn I should get C-Rayz on this with me. You always hear these random collabos that just don't sound right and I made sure the features fit.
Do you prefer spitting on tracks or creating them?
I went for a long time without rhyming, I actually got back into it while working on South of Heaven, I would produce a track and the dude would come short on the bars or I would need another verse so I just started writing and recording to fill it out. Some dudes heard me spit on the tracks I dropped for the South of Heaven sampler (www.godsendant.com/sampler.htm) and started to hit me up, wanting to work with me. So as I was producing, I would start writing songs and that's how All Praises Due came along. I love throwing darts but honestly Im more comfortable behind the scenes, creating the beats.
Do you think that the label of producer will make it harder for you to be heard as an MC? It seems often times the producer/MC label is almost a negative thing...
Of course, in fact most cats don't realize that's me spitting on the album. They don't expect a producer to rhyme, they think it's one or the other mainly because a lot of producers who try to flow come off like garbage, not saying that Im some super dope emcee or anything like that, its just that I was rhyming before I was producing. But I think at times it works out in your favor, people arent expecting it and you take em by surprise.
Now you released this project through your own label which you started in 2005, Godsendant Music. Why did you decide to launch your own label? What artists do you currently have on your roster?
A lot of these label execs want to have their name all over your product, have creative freedom, try and tell you what they think is hot, buy your product for pennies and make dollars and I wasn't cool with that. I put my blood, sweat and tears into a project and wanted to see it develop from start to finish, I may not sell as much as I would with a big label but at the end of the day, it's still my project and I didn't sell-out to make a few bucks. I had offers, I still get offers, but I felt that this was the best path for me right now. Godsendant Music is always looking to expand and sometimes it takes outside support, so Im not shutting down the idea of working with a label. As for the roster, right now I have Rack-Lo from the Lo-Lifes, A-Jaxx out of PA, I got a cat from Brooklyn and talking to a few other dudes. Were starting to make moves, were getting there
Looking to the future you have some big things in store, can you give us a preview of what is to come next?
I just announced the 300 project, the biggest song in hip-hop history. Basically, I made the beat and Im getting 300 emcees from all over to come through to drop 2 bars and build this super track. Just showing the world what 300 strong can produce. You can read up on it and download the beat at www.godsendant.com/300.html. Then we have South of Heaven, the compilation album a lot of people have been waiting for, it has Kool G Rap, Sean Price, Lord Jamar, Agallah, C-Rayz Walz, Ill Bill, Killah Priest, Cappadonna, Strong Arm Steady, Ras Kass, a lot of dudes, Im producing all of the tracks on that. After that I have the albums from the Godsendants, I'm either producing all or most of them, I have a joint EP with these dude Snatch out of the UK, projects with other artists, my man Chico from Chico & Coolwadda, tracks with a lot of dudes, most of the time I can't even keep them straight. I'm also starting work on my 2nd solo, The Darkest Day, working on a summer release for that one, Ive actually stepped away from producing all of this album and recruited beats from other dudes, 4th Disciple, Bronze Nazareth, Agallah, I even have a Soul Assassins joint. So yeah, we have a few things coming up.
So you are doing all sorts of big things some of which we have touched on, and your based out of...Alexandria Virginia, and are originally from Bethesda, Maryland. What sort of scene is there in Virginia and Maryland and has coming from a less than traditional geography for hip hop hurt you in anyway?
Right now the metro area is really diverse, everyone has different styles, I can't say that we have a distinct style because we cover so many. We're east coast, we're dirty south, were everything man. At this point you cant go; yeah that dude is out of VA unless someone says it. I think the only problem with being in VA is that at times, I can't always be in the studio with dudes or get to all the shows and all that. But yo, some of the most influential people in hip-hop came from my state, Neptunes, Timbaland, Nottz, Skillz, Missy, so while it's not the Mecca of hip-hop, we have made an impact in the game and I hope to carry on that tradition.
Who were some of your biggest musical influences growing up?
It was all over, George Clinton, Curtis Mayfield, Marvin Gaye, Public Enemy, Run DMC, Wu-Tang Clan, Nine Inch Nails, Temptations, Slayer, Iron Maiden, Bob Marley, James Brown, Ohio Players, Camilo Sesto, Mozart, I listened to everything and I think that comes across in my production at times. Listen to "Awaiting the Hour" with Ill Bill and Killah Priest then go to "Lost Ark" off of Hell-Razah's album, same dude behind the beat but completely different sound.
I seem to ask this question in all of my interviews, but do you remember what the first hip hop record you bought was? What sort of impact did it have on you?
Public Enemy's It Takes A Nation of Millions, I didn't buy it, I stole but it was my first. I wore that tape out, I would play it over and over again in this beat up little boombox, the energy, the message and the strength in the music left its mark in my brain. I went out and read about the people mentioned in the music, Marcus Garvey, Steve Biko, of course Malcolm and Martin, it was hip-hop that made you think, it had something behind it and thats what I try to give back.
Hip hop as a whole is really over-saturated right now, and this is a comment that everyone from artists to label-heads seem to be making. What can be done to help monitor and restore some of the quality that has been lost in such a flooded market in your opinion?
It really is flooded, everyone wants to be famous, everyone wants to be rich, I'm old school I guess. I come from the days when people made music just to make it. When spitting a hot 16 in a cypher was more important that spitting 16 on a record and getting paid. It's growing out-of-control right now, everyone wants to be the next Lil Wayne or 50 Cent and no one wants to be original. I like what Rawkus is doing, rewarding the cats who are making moves on myspace or soundlick or wherever by offering to release their albums but still give them the option to push it out on their own or sign with them if they hit them up. I think labels should take a look at this growing indie hip-hop scene and put more focus on those making dope music and actually provide some legit feedback. If you're making music and everyone says, oh this is ill but not saying anything constructive and its weak, you'll keep making weak music. I think actual feedback and criticism from real heads will make a lot of dudes step back and refine their craft and come back stronger. It wont stop the garbage from being made but at least it will focus some attention on the people who are dedicated and who are committed to improving hip-hop.
As a producer, I assume you are very aware, probably more so then most of us, of what goes into creating an album from making the beats, writing the lyrics, track order, politics, etc. etc. It seems as though the industry has really pulled away from album creation and is more focused on a hot single, first week sales and ring tones. Hip hop in many ways was built album at a time, and sort of building on the last question I was wondering if you think the days of a complete and classic album are over? Will we see the industry shift back to creating a whole record where every track is hot, or do you think we will be stuck with more and ore watered down material, where you buy the record and feel one, maybe two track on the whole thing?
Everyone wants to get rich quick, they want that hot single on the radio and then thats it. Most of these cats only make songs for that purpose, to get it on the radio or to get it on a mixtape. It's all about the quick money. I think for major cats, the days of a complete/classic album are over, they'll make songs to get radio play, spins in clubs and then go on tour and perform those songs, they dont care about an album being a complete body of work, at the end of the day, they get paid to make music to fill the dance floor. Indie artists are more focused, not saying all major artists put out crap, but when you aren't making big bucks, when this is the only way you can put food on your table, you put a lot of effort, time and work into your album. You make it complete from start to finish and make something people can listen to all the way through and feel like they were experienced, feel the dedication they put into the product. I think the industry will go where the money is and the radio/club songs are where it's at, the artists will make the songs for that sole purpose and keep putting out weak albums. Watch the underground; this is where the real hip-hop is being made. Listen to the mainstream cat on the radio but buy music from that independent cat making moves.
So you have an unlimited budget to put together your ultimate project. Label politics are no issue, money is no object...who do you work with and why?
Good question, I'd love to really work on a track with Chuck D, I did a remix for him, but an actual joint from start to finish, his music was a big influence on me, it still is. The last song on my album, Come Together Now is kind of a Bomb Squad/PE tribute. Nas, he's always consistent but the production was uneven, but his rhymes are always on point. Big Daddy Kane, the man is a legend; he could switch it up, smooth for the ladies, but then crush any opponents. KRS-One, always comes correct, I grew up on BDP. Kool G Rap, we've done a joint together but even after all these years, the man can still spit like crazy, I don't think he gets the respect he deserves at times but he influenced a lot of dudes. Rakim, gotta have the god on a joint, I don't really need to say anything else. The Wu-Tang Clan, all of them, R.I.P. ODB, they're all different but when they come together they have this crazy energy on tracks, arguably the greatest hip-hop group ever and in the 90's, the only tapes in my walkman were out of the Wu camp. Jay-Z, he can spit some real dope material when he wants to, this would be when he would want to. I'll bring back the King of Rock: Run DMC, Afrika Bambaataa, a 3rd Bass reunion, Mobb Deep, Schooly D, Dr. Dre, but I dont really have time to write his rhymes, Ice Cube, man I can go on...
Alright Krohme, thanks very much for taking time out to do this interview, is there anything you would like to say to our readers, and where can they find more info on you/pick up your album?
Thanks for giving me the time, I appreciate it. To all the fans, a big shout-out, I appreciate all the love youve shown me and I do what I can to give back to yall. Keep supporting real hip-hop and Godsendant Music will keep making it. For those who want to grab a copy of my solo All Praises Due, drop by www.godsendant.com/apd_promo.html to order it, the album has a limited run so make sure you get a copy now. To learn more about Godsendant Music, hit up , you can read about me on there as well as on and if you want to get down with the 300 Project, hit up Thanks again and check for Godsendant Music, we're going to be doing big thing. 1 Love...