By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
"That's the best compliment ever," says MC Thes One. "I don't want to sound new. I want to sound old, because that's what I listen to."
Both born in 1977, Thes One and Double K are roughly the same age as hip-hop itself, children of an era when the Native Tongues were still collectively kicking it in New York and Pete Rock and CL Smooth were telling us something about Mecca and the Soul Brother. Today, at a shared and wizened age of 23, Thes and Double K want to bring the old-school beat back. Though every new Jack coming out now is trying to bite the new sound of the day -- whether it be Swizz Beats or Mannie Fresh -- the People Under the Stairs load their DJ crates with the kind of records you might find in your parents' collections, if they were hip to the Fatback Band or Joe Tex back in the day. Yet rather than simply riding a retro tip, the People's nods to the past actually culminate in something live and original.
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On their second release, Question in the Form of an Answer (due to hit the streets on June 6), Thes One and Double K dance all over the foundational framework of their heralded 1998 underground debut, The Next Step. The technically superior Question finds Thes and K recording to ADAT for the first time. (Step was, according to Thes, recorded on "analog, just a real shitty eight-track.") Yet the two marry a heightened production aesthetic with their lo-fi studio roots: They may have gone digital, but you still won't find any slick computer studio tricks on this disc. It's all vinyl, baby; they even forsake live keyboards and drums. "The whole album is nothing but a sampler and records," says Thes One. "We never use anything else, not even for high hats."
Though it might be easy to mistake the group's moniker as a nod to horrorcore rap -- a somewhat ill-fated genre artists like RZA and the Gravediggaz attempted to usher in in the early '90s -- there are some similarities between Thes One and Double K and the film from which they cop their name. Director Wes Craven's humorous, horrific slasher fable used an elaborate house as a metaphor for the evil and cannibalism that can linger beneath a veil of wealth and suburban life; though not as macabre, the People Under the Stairs view their name and their latest album title as a commentary on hip-hop culture.
And just what is wrong with hip-hop? The People feel that somewhere along the way, hip-hop lost its way and sold its soul. Without trying to sound too self-righteous, the guys say they hope to lead a new-school revolt and steer the form back on path. According to them, it's all about positivity and having fun with beats and samples. It's about upholding the legacy of legends like Kool Herc.
"We're trying to do something that is working in the larger history of hip-hop," says Thes. "We're not trying to go outside the rules that had been set up by our forefathers."
Such loyalty to hip-hop's past may strike some as overly purist. But you don't have to worship at the altar of Afrika Bambaata to admire the way this group playfully cuts and scratches its samples, from the intro that warps a version of "Scarborough Fair" to "Zignaflyinblow," in which the duo cuts up Billy Joel's "Captain Jack"; after Thes and Double K are finished with the line "And you just sit home and smoke your pot," the Strong Island bard sounds like some crazed MC who just inhaled a balloon full of helium. The silly Billy track is just one example of the group's tendency toward playfulness, a refreshing attribute. A number of the tracks -- "Get Drunk," for example -- have comedic excerpts from actual comedy records instead of the all-too-routine and often corny skits that litter rap records nowadays. "As far as hip-hop guys go, they need to chill the fuck out and stop taking themselves too seriously," says Thes One. "People are 'Rah-rah hip-hop' all the time. But at the end of the day, you've got to take off the five things on your head, the eight doo-rags and the medallions. You've got to be a human being and call your mom and shit."
Elsewhere, Thes One does display a serious side. He speaks with an almost missionary zeal on the importance of maintaining your identity, in life and in art. "Give Love a Chance" begins as a narrative of an aspiring young DJ who needs some nurturing and guidance. His family members kick him out because they don't think his music can pay the bills. But the group throws out these lines to help him: "To all you B-boys, keep doing your thing/Don't let them tell you otherwise because you ain't making no green." The track goes on to speak about remaining true to yourself and the art form ("American cash money keeps rolling with or without/We got a subculture to save and I'll be damned if I'll shout some shit over tracks that's wack to make a fat stack of cheese/Hip-hop is my art. Only myself I can please").