My french partners of Les Echos Du Hip Hop take over today with an exclusive interview of Frankenstein…not the movie beast but one of the most notorious underground MC/Producer ! Enjoy >>

“Like Nas said, sleep is the cousin of death.. Unless you’re Frankenstein and you plan to resurect” These few words were meaning a lot when Frankenstein dropped it in 2013 on the underground show Built To Last (A team of underground heads dropping dope mixes and interviews).
Some of you guys (and to be honest, I hope it’s not many of you) may not know who is Frankenstein…. Back in the days, this man was a pure Hip-Hop legend (and he still is, legends don’t die), his track “The pain” made a lot of noise back then. Nobody heard stuff like that at the time, someone rapping with philosophic concepts, with a sound quality which was incredible (you were having the sensation he was actually rapping from his own dungeaon). People were like: “Where is he from? What’s his crew? I need to cop that vinyle”. Then, UV has been dropped in 1998, antoher classic…. His name was on all the real good mixtapes playing the underground Hip-Hop, and in the 2000’s disappeared from the radar, which rendered the myth even stronger.
As I was looking for more information on him, I realised there was not any interview of him on the net, nearly no information. And I remembered those words from the recent freestyle… And discovered he was about to release an album! Thanks to some very good help, I succeeded to get in touch with him. Talking about Hiph-Hop with Frankenstein is not nothing, It’s not everyday you have the chance to speak to a rapper/producer who has so much love for Hip-Hop and his audience… From “Peace and Quiet” to “The Agony and the Ecstasy”, here is the interview. Enjoy Hip-Hop headz!

Les E.D.H.H. : I recently discovered you were about to drop an album this year : The science of sound (out digitally on March 18th and on vinyle on May 13th). Can you tell us what’s gonna be about ? Unreleased gems or any new tracks ?

frankenstein les echos du hip hop

Frankenstein: Yeah, you are right, the album will be out as you said. « The science of sounds », is essentially a collection of tracks recorded that the world didn’t get a chance to hear back then. Not a lot of people know but, obviously, back in the 90’s when we were recording the music we had complete creative control in the studio, ill laboratory (which was the foundation of Knowledge of Self Records) we had a bunch of unreleased tracks cause at the time, we weren’t signed to a label other than our own. So, knowledge of self was our own label.
There were no majors in Canada supporting underground Hip-Hop in the way that was needed. So we were forced to invest in ourselves, that’s how ill laboratory studio came to be , a few like minded individuals pooled our resources and bought our own equipment. We spent time mastering our craft and in the process the Frankenstein Sound was born. In short, a lot of tracks never got a chance to be released. So fastforward to 2014, Ill Adrenaline approached me and said « you know what, Frankenstein, there is a lot of people still diggin for your stuff, is there anything that you could offer that has not been heard ? ». I accepted, and what you get is « Science of Sound » the essence of Frankenstein’s hand crafted sound. You will have a lot of tracks people never heard along with tracks like « the pain » or « rain is gone ».

Les E.D.H.H. : Ok, and, will we have any recent tracks ?

Frankenstein: No, on Science of sound, the entire album is stuff from the 90’s or from that golden era of hip hop ; I have, sitting in the vaults, an album that I would said, completed in the late 90’s early 2000’s called the Agony and the Ecstasy. When you have your own studio everyday is a day that new music is born, that I record, that I guess the world will eventually hear. I have always been a proponent that music when it comes out without any intention behind it or substance to the subject matter needs to be re-thought . From time to time I release stuff that people never may have not heard, such as on my youtube channel (frankensteinhiphop,ndlr) ;

Les E.D.H.H. : All rights, and why such a long time before releasing these tracks ?

Frankenstein: That’s a good question… you know, when i was making music in the 90’s in the laboratory obviously, there was a deep sense. We were appreciating what we were doing and we were admiring the greats. From 99 to 2001 and a little bit after that, the hiphop music, and the industry side of it was changing, it was getting “jiggy” which sounds corny now but then many labels were chasing the club sound.. A lot of the sound was being driven in a corporate way, the way it was moving, in some cases dancing to it was more important than the substance of the sound or the lyrics, which is opposite to how I grew to love it.
The south was having a big influence to it and a lot of the 90’s boom bap stuff (even though some people keep making it, I was just not appreciating the same way i used to ) changed. People I used to work with, were like « maybe you need more of this or more of that » and it started not feeling like the music I used to create. It’s one of the reasons I walked away from it. And I just kinda went more underground. No disrespect to any form of what people choose to call hip hop, it just wasn’t what I personally identified with.
frankenstein les echos du hip hop
So I kept making it, but not sharing it to the world and started to be more and more underground. I would eventually start to search online, specifically on youtube and I saw how many cats were appreciating my music, and golden era hip hop and diggin for it !
You know, in the early 2000’s the internet was around, but it wasn’t the phenomenom it is today. And when I started to search, I discovered there are a lot of underground heads searching for real music, not only in the U.S., but in the Europe, in Denmark, France, England in Finland, in Japan, South America…
So, I was being introduced to fans of the underground music, I didnt realise we were so much a kin and like minded. These fans were reaching out to me and inspiring me to know that the sound we made then is just as important today then ever as a reminder of a certain pure form of hip hop that we loved. And then I said to myself … May be, I should share it again, for those people, for the same type of heads, that felt hiphop , the way I constructed and intended it to be received. It’s who I have been always making it for. So when I was approached by Ill Adrenaline, I was down with it !

Les E.D.H.H. : So actually, we have to thanks the internet !

Frankenstein: Yeah yeah, you know, I do it for a certain audience : if it wasn’t for the internet I may never have connected with that audience. I think choice is important, without it we became soulless like machines no since of quality difference. When I see pop music getting all the shine I’m not of the mind set of hating on it, I think some pop music is good but when it takes over the social climate and that’s the only thing people search for it begins a slippery slope of heartless music designed only to make a profit and that is a shame…

Les E.D.H.H. : As well, you’ll be releasing again the tracks you did as Delphi Oracle, which was you and AZ ?

frankenstein les echos du hip hopFankenstein: It’s a very interesting story… The truth is, the first stuff I really recorded was along with AZ. He was my school friend, best friend for many years, and all that… He helped me build the studio. Delphi Oracle was before Frankenstein as a solo artist. The first 12 inch we ever released was « peace and quiet », and AZ was on the song, he did the 1st verse and the 4th one. He and I were very close and had a bunch of Delphi Oracle songs. Most of the songs were created before the pain (my second 12 inch). « Peace and Quiet » was our first 12 inch and we were planning to release more stuff, but unfortunately his sister was murdered… And her loss was having a huge influence on him, on his live, on what he wanted to do musically, and you know, he needed to get to a mentally better place again. So he walked away from the music at that point. So at that time, it created Frankenstein as a solo artist. So I attempted to show the world the evolution of what frankenstein became. So any many ways the Delphi Oracle tracks are the prequel to the Frankenstein Movie of Sound.

Les E.D.H.H. : You still in touch with him ?

Frankenstein: Yeah, from time to time, he and I speak. He’s still in toronto, he’s not doing music anymore. But he definitely comes from the same school of music and thought, back in the days, when we were first introduced to hiphop, we were very critical on anything that wasn’t on a certain level of quality. We grew up with Rakim and Eric B, big Daddy kane, the whole Juice Crew movement, KRS 1, Gang Starr EPMD. The sound that inspired us was along those lines, later Pete Rock and CL, Tribe Called Quest, Brand Nubians, Mobb Deep, Wu Tang were all major factors in my sound.

Les E.D.H.H. : Regarding the releases you’re doing at the minute, we saw you’re dropping stuff on chopped herring, 6to6, sergent records, why so many deals ?

Frankenstein: As I said, I wanted to share it to the world. And as well, I noticed a lot of people were bootlegging my stuff, so I wanted to give people a chance to hear it in its entirety, from the creator, the author and release a bit of quality control around the whole thing. From the beats to the lyrics to the engineering and mixing it passed through Frankenstein and I felt a sense of commitment to the fans to give them a bit of that brand promise.

Les E.D.H.H. : Kowledge of self was your own studio, what’s up with this now ?

Frankenstein: The good news is, I still have all the equipment, I haven’t sold a thing. I still have the studio in my possession, in my basement. And you know, if you take for example the « paid in full » album, they could not re do that without the same equipment. Same for Pete Rock and Cl Smooth album.. so one thing thats important for me, was to use the same gear I used in the past. I am my own engineer and own producer, I don’t have to go out and find somebody to create the sound that the people know me for. What’s a shame is many of the classics we love are impossible to re –create unless you have the same artist, with the same producer, in the same studio with the same engineer. Many of those artist we love either don’t work with each other in the same way or have sold a bunch of the old gear. I think that’s the long term benefit the Frankenstein Sound has for the listeners. The beats are made on the same gear, with the same production, same artist same mentality so the recipe is unchanged.

frankenstein les echos du hip hop

Les E.D.H.H. : So you keep using the same equipment since back then ?

Frankenstein: Absolutely, yes. I have the new stuff, and there is nothing wrong with having cubase, protools and all that. I get that music moves on, it’s an evolution and you can’t live in the past. But I chose not to use it when I’m making the Frankenstein Sound. It’s like making a consistent great bottle of wine, the process you make the wine with and the taste that people know it for you can not change or the brand suffers. Similarly if Rolex changed their approach everytime the crafted a time piece for the sake of what’s new or evolution they would not be known as the Great Rolex of today.
The would be a trendy watch company like Swatch or something . I see hiphop in the same light , if you change the ingredients, the equipment you’re using, you won’t have the same quality. It will be something new, which is not terrible but won’t be the thing that you loved, the sound that inspired all of us. I’m not trying to save hiphop or anything, but there is something that made the world fall in love with hiphop, and not having it around anymore is just a shame. I’m not saying we should go back in time but if you want a certain taste, a certain vintage then you can’t change too much and you have to keep the ingredients and the world needs to have that choice.

“I see hiphop in the same light , if you change the ingredients, the equipment you’re using, you won’t have the same quality.”  

Les E.D.H.H. : So what do you use ?

Frankenstein: I use the SP 1200, the MPC 3000, the Ensoniq Samplers … They are the foundation of my sound, the process if you will , and I will never part with them.

Les E.D.H.H. : You’re now signed on ill adrenaline, right ?

Frankenstein: Yeah, to be honest with you, I needed help. I believe in Ill adrenaline the same way they believe in me. And hopefully it will be a powerful thing, for the underground scene at least.

Les E.D.H.H. : What’s « Man of the people production » ?

Frankenstein: At the time, I was making stuff as Frankenstein, but as well producing remixes. Man of the people production was created for that purpose, to separate it from my own Frankenstein Sound. I was capable of many different sounds and wanted to have an avenue to make that without affecting the Frankenstein Brand. But as i said, the turn of the music industry back then made me stop. I’m not judging other people’s music you know, it s a very subjective thing. Today people call it hating, back then we had opinions. In the current social climate if you go against the popular sentiment you’re hating. This is dangerous when people’s own personally opinions are attacked when they don’t match the popular sentiment. History is a good reminder of this as we know people were burned at the stack for their difference of opinions, slavery was once popular or the unspeakable stuff that happened during World War II when people were afraid to speak up…

Les E.D.H.H. : A lot of people discovered you with « the pain » which I discovered on JR Ewing’s pure premium N°1. And you did a collaboration with savoir-faire records (Armeni Blanco, Lenny Bar) which is affiliated with JR Ewing. How did the connection happen ?

Frankenstein: « The projects » is one of my last professional records I did, there was a mentor name Russ Hergert working for Virgin Music in toronto. He used to fly to Paris, and when he was there, he discovered a lot of people were listening to my music, there was an incredible hiphop scene, an incredible passion about it. He met JR Ewing and Armerni Blanco who asked if we could do something together. I said « Absolutely, I can feel the sense of passion » so I went to Paris and spent a week there and was truly blown away by the French people themselves – you know, I always studied European history – It was really magic for me to see so much intensity in the sense of music. You know, JR Ewing and Armeni Blanco treated me like family, they were very considerate to me and I really appreciated that ; and when I sat down in the studio, that’s how we made « The projects ». When I got back to Toronto I made the remix for them and sent it to them, just to thanks them, to show them love. They did all the rest, from the artwork to the marketing ; they had the idea and the concept. They deserve all the credits, I just did the simple part : going to the studio and write the lyrics.

Les E.D.H.H. : Have you ever been involved in graffiti ?

Frankenstein: You know, I really appreciate it, I look at it and admire it. But I would never have the ability to create what these guys do. So well, no, I’m not into making it. Im more appreciating it from a fan perspective.

Les E.D.H.H. : « The pain » is just a huge classic, I even know a kid who read the book because he loved this song too much. What has inspired you to do so ?

Frankenstein: You know, the truth is.. Frankenstein, the concept first was something that was related to me obviously… When I first read the book , I realized very early that as Hiphop producers and artists, we are essentially like Frankenstein in laboratory creating something new out from different parts. In the book, Frankenstein laboured very hard to go into the graveyard to take dead body parts and put them back together to create new life, out off something that wasn’t there before. Many of us go diggin in the crates, we come back home from record shop and start making something new from old stuff, stuff that has been buried for a long time. And you take the kick, the snare from a record, then a bass-line from a another record, you put them together and you have HipHop.
You know, I always said this, almost any producers in Hiphop is Frankenstein in a way. That is the Frankenstein concept. When I was making the pain, an extension of this concept was really to give the world what I think we all go through sometimes : enormous struggle and the sense of the strength we need sometimes to over come life’s challenges, when we try to find who we are, what is our place in the world, the daily struggles that we have. This record The Pain is created for this idealism…
Almost every time I write, and this is very important, any time I write lyrically it’s never to pretend to be something else that I’m not. I think it’s something missing in music today. And it’s fine, sometimes people will create an imaginary story, like a movie of something that never really happened, imaginative concepts and are ok. My music, the Frankenstein stuff, has imagination but it’s connected to the realism of what the human experience truly is. So when someone hears the pain’s words… « I can’t stand the pain or the struggle, no matter what I do I seem to find trouble » you know.. A lot of people, wanted to live a certain way but every time they make a move there’s like a hook in them dragging them to something negative. That record was enormously real from that perspective. And I wanted people to be like « wow.. This is very similar to what happens to me ».

 “You know, I always said this, almost any producers in Hiphop is Frankenstein in a way. That is the Frankenstein concept.”

The rain is gone is an extension of that same type of thing, everybody has been negatively affected by himself on very important points of life and that’s where the hook’s from Guru « The rain is gone, the pain is gone, but no matter how you flip it what you did was still wrong ». So the concept is.. If you grab a plate and break it up, it’s shattered into a million pieces. You can apologize to the plate, you can glue up all the plate back together, and say « sorry plate » but the plate will never be the same. So if you did something to me, you can apologize and all that, but it won’t ever be the same. Even forgiveness, you can forgive somebody, but the fractures we still be there. Every time I write, it’s with the human experience, it’s not about just Frankenstein when I write, it’s about US all of US

Les E.D.H.H. : You just quote Guru, I heard this track « Mostly the voice » you did in his honour when he died.

Frankenstein: Yeah, you know, Guru was definitely a big influence to me, I admired the way he did music. I found him similar to me in many ways, he never wrote about money, girls, cars… Every time he wrote, there was some substance in the song. When I did the re-make, it was to pay homage to him, to say « thank you ». The best way I knew was with « Mostly the voice » cause his voice was magnetic, hypnotic, you know what I mean ? Gangstarr was very influential to me, as Pete Rock and CL smooth, Q-tip and The tribe Called Quest, Marley Marl, The Juice Crew…
You know man, I find it amazing that nowadays, listeners of modern rap stuff you have rappers telling you about how much money HE has and how you’re inferior because you don’t have the money HE has.. And I’m thinking to myself, HE couldn’t have all this money without the listener. It’s like « support me for not being like you, but please pay up so I can be superior ». To me, it’s ridiculous to have someone constantly insulting you for not having the same stuff as he has, the cars he has, the boats, the jewels etc… But he wouldn’t have that without you the paying fan. That’s the difference with old school Hiphop, when the rappers were insulting you or came at you it was because only you did not have the same skills ! Today Hiphop is less focused on skills, nowadays, wack MC’s are allowed to rap, and that’s the big difference. To get back to Guru, if you listen to « Step in the arena », « just to get a rep », well, he’s talking about what is missing in the music today.

Les E.D.H.H. : And so, do you pay attention to nowadays Hiphop ?

frankenstein les echos du hip hopFrankenstein: Yes, but not in the same way I used to. I’m not on it in the same way. But yeah, I still follow Primo a lot, his work with Dynasty which is impressive… I really like what Marley Marl and KRS one did a little while ago, Buckshot and KRS one… I’m sure there is a lot of stuff contributing to real hiphop, that’s my sense, but I’m not following it the same way.
I spend more time listening to old school r’n’b, soul, jazz, john Coltran, Miles Davis, Lou Donaldson records, Beatles records, the Doors.. I’m more a student of this era, because today, they record it on computers, transfer it to MP3, it sounds like something is missing to me… You know, if something is not on vinyl, I just might not listen to it, and it’s a shame because I’m sure there are stuff really good being done on MP3. My own sound when it hits MP3 does not sound the same to me. It’s like taking that same great bottle of wine and pouring into a plastic cup with water. It may resemble the taste a bit but it will lose it’s magic to some degree…

Les E.D.H.H. : So, all your next releases will be on vinyle ?

Frankenstein: Yeah, it’s very important for me.

Les E.D.H.H. : I heard you would drop another album, « The agony and the ecstasy » right ?

Frankenstein: Yes, When I said I had an album sitting in the vaults, it’s what I was talking about, it’s all the songs I did after the ones for « The science of sound ». In this there are tracks that people will, I hope, respect a lot. It’s the same formula and sound of Frankenstein no change only the real unfiltered RAW sound crafted in the ill laboratory for real headz…

Les E.D.H.H. : When can we expect it ?

Frankenstein: It’s the big question ! We didn’t decide yet. We’ll let « The science of sound » breathe a little bit, and then we will see. That’s why I don’t have an official date. Actually, this album was supposed to be released under a major back in 2000-2001, but we couldn’t get the support we needed, they wanted to change it. I was not happy about it so it didn’t come out. I hope the listeners can appreciate that I was conflicted; I would rather walk away the try to rape my sound for the sake of selling records. For this I’m proud.

Les E.D.H.H. : Ok ok.. And so, you keep making beats regularly ?

Frankenstein: Yeah yeah, definitely… Well, to me, making beat is like therapeutic you know. Some people might go gamble, some people might go swim, some others go to alcohol… Everybody has his thing to release himself, mine is to make beats. I have hundreds and hundreds of beats, but every time I’m sitting I’m in another frame of mind. It’s never the same, it’s always different. Like when the rain drops and hits the ground, the droplets of water always break differently. Hiphop has always been like a drug to me, I can escape to it. «I do the walkin’, but the brain does the travel/Find the unknown as my thoughts unravel » That’s what the music is to me. What the music does to you, is unexplainable, it’s subliminal. Music is my way to escape without being harmed, at the difference of alcohol or drugs. Some go to a movie to escape or read a book, there are many forms of escapism. Some harmful others can better you, as person it’s about your personal choice what you do to yourself, to me, it’s the music.

Les E.D.H.H. : You’ve been working with Choclair, Lord Tariq and Peter Gunz, T-Love, anyone you’d like to working with ?

Frankenstein: You know what, one of my favourite MC is Saukrates, I love the ton of his stuff and voice along with his delivery. I always thought I could do something magical with him. As well, I think the Genius from Wu tang and I can do some crazy stuff, or Nas. I think I could give to Nas a little bit of what he had on illmatic, you know what, check it out, i did it yesterday :

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Frankenstein: To be inspired, I always look at great people like Martin Luther King, who created great inspiration for his own people, It’s something that moves me. You know what, let me play another one, I ‘ve been watching a Malcom X documentary the day before I did it.

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That’s the good thing with having your own studio, you can create what you want when you want. You can imagine how many beats I did over the past years, doing this every day… The music pulls me in, it talks to me.

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On the last one, I just recreated it from « shut them down » from Public enemy. If I’m sharing this with you know, it’s to show I don’t do it with alternative intentions, I just do it for the love of it. If your only drive for money you will have a lack of substance.

Les E.D.H.H. : Well yeah, You can make money from music, but if making money is the only purpose, you can not make good music, right ?

Frankenstein: Exactly man, and the reason above everything, the one for which I keep doing all this is the passion… I wouldn’t do it otherwise, just the passion.

Les E.D.H.H. : Where are Choclair, Dan-e o, Saukrates ? All these underground rappers who were part of the best underground canadian scene, and do you pay attention to new hiphop in Canada ?

Frankenstein: You know, the people you mention, they felt like me I think… They had to step away from the industry in some way or another because of what it was becoming. It was not our definition of HipHop, so they may have went as I did. I had a word with Dan-e O a little while ago, he keeps talking of hiphop and teaches it to local schools. Regarding Choclair, I haven’t speak to him since a long time so I couldn’t tell. But, concerning the new scene, have you heard of King of the Dot? It’s about people doing rap battles.

Les E.D.H.H. : Oh I see, we have the same in France (rap contenders), but the texts are written, right ?

Frankenstein: Yes, and that’s something I find strange, because back in the day, it would not have been possible, you would have been considered as a wack MC. So it’s amazing, that today all those rules are out the door you know… You just have to recite nowadays… It’s very different from what we grew up with. To me, you need to have both abilities : kickin it properly, and improvising styles, that’s my school. But now, people are ok with the fact the texts are written previously to the battles… But still, their stuff is ridiculous, there are very good don’t get me wrong.

Les E.D.H.H. : Yeah man, I remember Termanology saying”back in the days, if you were wack, you would get slapped in the face, but now people are like ‘oh yeah is wack ‘ and that’s ok ».

Frankenstein: You brought up an incredible point, it was all about the quality and this sentence summarizes it really. The audience would not have been happy if you were just « ok », you had to be very good you know… Hiphop nowadays suffers of the lack of quality control. And that’s why I don’t pay so much attention to modern hiphop, because with the internet, you have just too much stuff to pick up and too much garbage at the same time ! It’s really hard to find some very good hiphop because of all the wack dropping their stuff you know… But still, I’m sure there is still some great stuff out there, but you have to be very patient to find it out…
This problem did’nt exist back then, you had just a few local radios playing the real hiphop, the DJ’s had three hours per week to drop what’s hot, so the dj was very selective and only the good hiphop was being played. But with the intenet, there is not anyone saying : no it shouldn’t be played because it’s not dope.

Les E.D.H.H. : We just mentiond Dan-e o, I heard you rapping with him and the french speakers « La contellation », do you listen to French rap ?

Frankenstein: Well, the story is, that track was mixed and recorded in my studion with DJ Scam, so when they did it I just joined them to kick it. By the way, Dan-e o ‘s track « Dear Hiphop » has been produced and recorded in my studio too, that’s history. But to get back to your question, our exposure to French hiphop was very limited so I never listened too much to it, but when I was in france I realised how Hiphop is important out there, and the passion for that was huge…

Les E.D.H.H. : There are just two videos of you on the Internet, and on « So I » with Choclair, you play basketball, are you a proper player (the other video is “UV”) ?

Frankenstein: I played it a lot when I was in High School, and my team at the time was one of the top ones, it was a big deal back then. I keep supporting it, and you know at the time, it was very connected to Hiphop. In the 90’s, the golden area of Hiphop, and Basketball was similar to Hiphop because of the styles they were playing, trying to be original. As well, You were stepping in a court, and the DJ was playing Gansgatrr, Pete Rock… It was all connected you know… All that era, in the 90’s, it was incredibly Hiphop.

Les E.D.H.H. : I always knew I was born a bit too late… !

Frankenstein: It was all different… Like for the sneakers, you did not have that much at the time, and their was a real excitment for that, you didn’t have 15 or 20 pairs like today… And in Hiphop, I might be wrong, but as up today you don’t have much groups like Public Enemy talking about the black pride, or being really involved in politics and stuff. I know there are some, but we cannot compare…And well Kanye West did some great stuff even if he’s a global artist, there is something he does that I think is very Hiphop. Power to him when he does that. That’s just my personal opinion on it.

Les E.D.H.H. : I get it. What’s you playlist at the minute ?

Frankenstein: I listen to a lot of old stuff , CREAM by Wu, Jungle Music by Jeru, Straighthen out my Pete and CL, Gwen MCrae 90% of me is u, The JB’s that stuff is crazy. You know, that’s something very important to me, when people hear the new Frankenstein stuff, I want them to say that it sounds as good as it was back in the day. If real B.Boys think so, that makes me really proud that’s better then a dollar bill , because I do it for the love of the music and for my supporters, for the passion of it.

Les E.D.H.H. : I think it does, especially due to the fact you still use the same equipment which is -according to me – the only way to make the proper Hiphop sound. I don’t understand why all the new producers want to have the new technologies… I know it’s cheap and all that but it’s not the same result..

Frankenstein: I agree. Well, people usually chose to sacrifice quality over convenience. And it’s cheap too. But if it’s convenient and cheap, I don’t know how many good things can be done that way… If you go to restaurant and ask for something quick and cheap, I don’t know if you’ll get a very good dish… But I want people to know me only for good stuff. Geninue quality of Frankenstein ..

Les E.D.H.H. : Any last word ?

Frankenstein: Yeah, props to you guys who spread the word and keep real Hiphop alive. You don’t really get all the credits you deserve, but without people like you, Hiphop wouldn’t be alive. So thank you, and keep the real hiphop alive !
Frankensteins mix by Built to Last
– interviews done By Becri for les Echos Du Hip Hop