Music, Writings and Art live from the twisted mind of Tokyo Cigar

Albums for sale

The Plexiglass Fountain “Concrete Mythology ( The Year Of The Dragon )” album

I could go on and on but i’ll let the music speak for itself

Much love to everyone that came thru for us on this album. Much love to keb0, The Cause, Czarina, Cee, Kyle Hubbard, DJ Po’ Safe beatz aaaaaaaaaaaaaaaaand the incomparable Donny Goines.

Peep part of the review we got for the album

Concrete Mythology is all about giving the hip hop listener something different.  It’s about switching the the contemporary for something a little bit more avante garde.  It’s taking the industry standards and changing the expectations. There as so many so many different nuances to this album, that you will pick up on something new with each listen. So give this album a chance and see how this duo and their guests put a little polish on this hip hop gem.”

The Hip hop Dependency


The Triple Crown of Rap part 3: TOKYO CIGAR “codename: DEVASTATOR”

Well, this is it folks. I would have posted this earlier but i wrote a making of feature for the album for the homie Menace from Conspiracy Radio ( VERY dope show ) out in London so i figured i may as well wait. Much love to everybody that repped on this album with me.

Peep the feature.

[Breakdown] Tokyo Cigar – Codename: DEVASTATOR (Exclusive)

Producer, artist and writer Tokyo Cigar recently released arguably his most important project to date, namely, Codename: DEVASTATOR (listen / purchase after the jump). A sonic reflection of his influences, from the likes of Wu-Tang, Gangstarr, Peterock and CL Smooth, with a lyrical focus on striving to become better and gripping society’s state of affairs by the throat.
The project finalises his Triple Crown Of Rap Saga (3 albums in three months!) that began last December and features guest appearances from Keb0, Nasty Nyne, Cyclops, Czarina and Teddy Faley.
Tokyo recently chopped it up with me to breakdown the outcome of his personal milestone, track-by-track. Enjoy!
The day I decided to make this album was at Rock The Bells 2010. I walked into the spot and saw KRS ONE on stage. He was talking to the crowd, dropping mad jewels and the fact that I had been listening to him for so long and was seeing him in the flesh for the first time had me ZONED OUT. He was on stage with a crew that included Supernatural and Freddie Foxx (who kicked a dope freestyle that shut it down) and I was absorbing the vibe of everything. Then Primo came on stage after Kris and had a quick DJ set. That really bugged me out ’cause as much as everyone knows that I’m a complete RZA fanatic, I also know that Primo is THE MOTHERFUCKING MAN! [cont.]

Just seeing him for the first time and flashing back to “Supa Star”, “New York State of Mind” and “Come Clean”, I was in a zone. Same thing with Tribe, hearing “check da rhime” performed made me realise how much Q Tip played a part in my production development. Without a doubt the high spot of the night was WU. I have seen them do their thing, mad times so it wasn’t the fact that they went INNNN that had me open, it was the moment Nas came thru and laced “Verbal Intercourse” with Rae and Ghost. That sparked it. The mastery of music and also the communal vibe that laces Hip hop at its essence. I left the spot in a daze and VERY hungry. I decided to round up my people and go in. I was in the middle of mixing “When Inspiration Hits” for Cyclops and producing “CoExist” for Keb0 (on top of other stuff too) and making beats for the next Plexiglass Fountain projects, so I was swamped. But when that hunger hits me I refuse to ignore it (as you can tell from my heavy musical output haha). So I started lacing joints for it and writing. The whole thing was a six to seven month process. While making it I took a break to jet out to South Carolina to unwind (and went through some crazy life changing shit), finish the Cyclops and Keb0 albums and do the “Felt 3.0 a tribute to Nancy Sinatra” remix album (which made so much noise online I was kinda shocked).



I’ll give a breakdown of each track:

Intro
Anyone that read my Kill Bill write up knows that the moment Uma was walking the desert to kill Budd, has one of the best pieces of music I ever heard. I had to lace it up even though I already flipped it for a Jay Z remix. I felt the fight Club speech summed up a running theme of the album. Striving for better and analysing life as it is. It was one of the last things I did.
Dr. Crisis

This was the last song I made for the album. I made the beat and my boy Grant heard it and he was like “You need to put this on the album”, something bare bones and straight forward. Not too musical, just rugged with some hard drums over a crazy flute. I wrote the rhyme on some let loose shit and introduced myself and my crew.

Anti Creation

Teddy Faley has been my man for years. I love the dudes music. We collaborated on a couple of songs before and I wanted to get him on this joint. I made the beat early in the album stages. Some sandpaper rugged and mean shit. I had the first verse and sent it to Teddy and he laced his, then I laced up the third verse with this rhyme I had in the stash that was ill. I added the Transformers joints in there to announce the fact that from that moment forward Devastator had been formed, plus I wanted to have the original “Alley Cats” beat on the album in some way shape or form, so I added it to the end.


Ingredients

One of my favorite beats on the album. I made it on some random shit then sat back and like WHOA!!! The organ just does it for me. It took a LOT of chopping to create that melody (trust me your not gonna figure out what it is). I did the drums differently at first but when I went back and redid the pattern it was the money. The beat had such a life affirming vibe, I wanted to touch on life in a positive but real way.


Skeleton Bent

I made this beat originally for the next Plexiglass fountain album. I just loved the fuck out of it. When I sat down to make it that was not what I had in mind at all. But when I played the pattern I was like “are you fucking kidding me?” I had a different verse to it but I wrote a hotter one and laced the hook too. Cyclops killed his verse on some wow shit. I called the dude up and said like “Yooooooooooo you killed it”


Dialogue Of Funk

Hard; that was the mind frame going into making this beat. The sample was maaaaaaad funky, up-tempo and had mad energy but when I slowed it down and chopped it up it became very mean. I told Keb0 and Nanigan to go in on some some wild out shit. The CL smooth sample was just sitting in my sound bank and I don’t even know why I decided to add it in but when I did I was like “Yep, That’s it”.


Broken Wings

A lot of people have been going crazy over this joint. I was in a very dark place when I wrote this song. I don’t think I ever will get over my sister’s death and this song represents my trying to deal with the finality of life and death. The idea is that we are all going to die, so while living I try and make things better for when I finally have kids and pass life onto them. I had a different beat for it but when I came across the record I flipped, I was like “this would fit better” because of the amount of emotion it had when I chopped it up.


Tension

One thing that tends to follow sadness is anger and that’s why this track is up next. But rather than just talk about violence happening I wanted to make a song that deals with those moments before the jumpoff. I told Cyclops and Nasty Nyne to kick a scene of being a person that is about to set it off in different situations and they came ILL with it. My verse was about a dude that robbed this one cat for hating on the fact he got head from a fly chick and the night ended up in College Park MD about to get in the mix of a big brawl with hip hop heads and some drunk truckers. The beat just represents that tight feeling in your chest, when you realise that it’s about to go down and people may not survive. You know, the big set off.

1995

I made this song to touch on Nigeria, London and Dublin because even though I post up in Maryland now, those spots played a HUGE part in my upbringing. Traveling represented a lot of my life in the 90’s. Even though cats go through these spots on tour, there is something that has to be said about living there that that tour life can never tell you. Visiting London and staying in hotels for a few days will never show you the life on that side the same way that waking up there for months on end, running the streets of West Croydon with your cousins, getting the bottle of milk the milkman left every morning, eating coco pops (I don’t fuck with Weetabix), channel surfing between ITV and Sky satellite channels, hopping the train in Victoria station to hit the city, reading Hip Hop Connection every month and taping stuff like Tim Westwood, Max and Dave etc can give you. People also go apeshit over the beat. I wanted to make something mad cinematic for this joint. Something visual in sound but also very heartfelt.


Desert

This one is for the ladies but rather than make a bubbly pop sounding joint, I wanted to take it back to the dance hall clubs I used to hit. This beat represents all the times I been in a club grinding on two chicks, squeezing asses and bugging. That’s why when the bass drops in the DROPS IN. Something dirty but sexy. The rhymes are just different scenarios I’ve been through and my outlook towards chicks. I put the homie Kebo on this joint ’cause he was always dope with writing rhymes about females.


Alley Cats Part 2

I decided to reflip this beat from the first one because of an interview I saw with Primo and Pete Rock. Man, that interview had me bugging out so much from hearing the stories ’bout all the classics they made that I went into an immediate beat-making stupor. I made like 15 joints in 4 days and this was one of ‘em. I loved this beat so much but I didn’t want to add another track on the album ’cause that would have been too much ,so I decided to use the beat for this song instead. Its very different from the original but I swear this beat makes me think of 1996 everytime I hear it. I kept the rhymes the same and the more laid back nature of the track actually fit the “cool out and chill” part of the hook more.


Money Lust

I wanted to make a western sounding beat on this one. Some riding into town at sunrise type shit with some heavy drums on top. The song concept came from me thinking about the saying “it’s lonely at the top”. Life is crazy to the point that you can spend it chasing something so ferociously, only to find out that it cost you your life. Rather than kick a single story about it, I decided to get different perspectives on that idea. Cyclops and Nanigan went in on this joint. I picked them ’cause they are always incredible at breaking down subjects and really nailed it with this one.


Light

This is one of the earliest beats I made for the album. I sent it out and when the verses came back I went in and added more music to it. Nasty Nyne and Cyclops came correct on this joint with the battle rhymes. I wanted to attack the track in a different way, so I wrote a story dealing about apocalypse and used it as a metaphor for what batting Devastator would be like. One of my favorites on the album.

The Network ( D.M.V. )

The loop chop is something I made YEARRRRRS ago. I dusted it off and drummed it up for this track. I had to rep’ the DMV real quick on this one. Maryland has shown me so many different sides of life it’s crazy and I had to touch up on it. I mentioned when I used to hang with Damu the Fudgemunk at Capital City records in DC too. I’d seen everyone from Kev Brown to Oddisee up in there every week and its crazy how that one record store used to have just about every ill rapper and producer in the area up there catching wreck. Good times.


At Night

This is the point of the album where I get more complex with the music. This track is mad symphonic and emotional. My boy said it reminds him of Star Trek. The concept of the song is surviving the struggle. Mal Moe zoned out on the hook something CRAZY. Cyclops and Keb0 originally wrote their rhymes to a different beat but I ended up changing it and using their vocals over this one because I felt the emotion of the beat fitted the rhymes more.


She Gave Me Pineapple Express

This is a song dedicated to my little sis’. Everyone knows that I burn down chronic but when I found out that she started smoking, the big brother in me kicked in. Even though I puff I feel weird to know that she does it too, so I wrote a song for her on some “keep your head up” shit, giving here advice about life and telling her to be careful what she gets into. The beat is one of the best beats I ever made and it gets me zoned out when I hear it (especially when the bassline drops in and the melody switches).


Big Speaker Spot

I always liked going to spots and passing the mic around and rhyming so I made a song that captures that essence. You know, you hit a spot the DJ drops a beat and you go for yours. Simple. 3 MC’s + 3 beats = SUPER IGNORANT RHYMING. I added the background effects and played the host too to add to the scene. Nasty Nyne and Keb0 went INNNNNNNNNNNN on this joint too. Crazy track.


Cinema Life

I made this beat on some movie shit and sent it to Czarina. I named the beat Cinema Life just as a reference but when she got it she wrote the hook and her verse combining romance and cinema and when she sent it back I heard it and flipped. I wrote my verse along the concept and when the track was done, I was amazed at how ill it was. Master peice for sure. I feel with some label support this song could be huge.


The New Matrix Reloaded (The Marsha Brady Sequel)

This was made in the tradition of posse cuts like “protect ya neck”, “Scenario”, “Headbanger” etc and some MC’s going in over a barbarian stone hard beat. No fancy shit just nothing but intelligent brutality. Heads are spitting some science on this but it is covered with a very strong “fuck you” attitude, break beat drums, synths and pure evil combined to make the beat. Mad hip hop heads been hitting me like “That beat is RAWWWWWW oh my God”. I gathered all the guest rappers for this one joint because this is essentially all the MC’s forming Devastator for this track. This is the climax of the album.

I wonder

This is a love letter to music. Anyone who knows me knows that when I hear a song I like go crazy no matter if I’m by myself, at a show whatever. Music has this grip on my soul that is beyond love, beyond obsession, beyond…………I don’t know. I’m just addicted to making music. This track is pretty much like if music was a chick, this is me on bended knee proposing to her. Musically very lush and orchestrated. The homie Gray is Nanigans room mate. I met the dude in South Carolina and we kicked it puffing in some and watching James Bond flicks. Very cool dude. He played me some of his music and I was like “Yooooooo I got this one song I want you to lace for me”. I wrote the words and I sang it myself (with my grimy ass voice you can imagine how that sounded) and I sent it to him and he laced it and I was like YEAH!!!!

Well that’s it. This album represents my life up to this point and is a personal milestone. My main objective with this project was to make sure anyone who hears this album has no choice but to call me someone that truly lives by the statement, “music is my life, life is my hobby”.



http://messengermenace.blogspot.com/2011/03/breakdown-toyko-cigar-codename.html

Plus heres the artwork


FROZEN FLESH, UGLY SOUL

My first instrumental album. This album is most definite one of the best things i ever did. Sample free except for the vocal clips i would use, this album was a labor of love. Just straight expressing my emotions through instruments and drum programming. I got WILD love for this. The best compliment came from fellow producer Isbjerg  who compared this album to Jean Michael Jarre. A LOT of work and obsession went into making this album. One of my production benchmarks for sure.

Shout out to the homie Randy from When Giants Meet for providing the crazy artwork


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