PremRock

Interview & Photos By: Edwina Hay

Rapper PremRock has been a part of the independent scene in New York City for years now and has performed alongside rappers such as Open Mike Eagle, Armand Hammer, milo, and others. He’s impressively released two albums in 2020 and 2021 as a solo artist and with Curly Castro as a duo called ShrapKnel.

His newest album, Load Bearing Crow’s Feet, was released by Backwoodz Studios in June 2021, the independent label created by billy woods, that also put out ShrapKnel’s self-titled record in March 2020. In this interview, we learn more about PremRock’s newest album, how he met some of his colleagues, and what he read and listened to when New York, and most of the world, shut down.

PremRock, you just held a record release show for your latest solo record, Load Bearing Crow’s Feet, which was your first live performance in 16 months. How did it feel to perform in front of an audience again?

PremRock: Definitely was a mixture of emotions. It felt great to actually perform but the rust felt a little apparent so leading up to the event I was a little nervous in terms of the actual logistics of everything. It came together remarkably well and I really appreciate the fellow performers for being on time and being incredibly positive. It goes a long way when producing a show.

At the show, you remarked, “Before COVID, I brought my own mic, now I doubly do it.” Can you tell us more about your microphone? Why do you use this specific one? When did you start bringing your own mic to shows?

PremRock: Yes! It’s a great idea I recommend to all artists, specifically touring ones. Actually in the market for a new one at the moment. Willie Green got the one I use now from the company and he graciously has let me hold it for…damn maybe 5 years now.

Your record release shows always seem to have great rappers sharing the stage with you for a night. How did you select the acts and special guests for the LCBF show? I hadn’t seen Fatboi Sharif before and excitedly texted friends about his entrance music before his set began.

PremRock: Sharif has entered my artistic orbit since he released Gandhi Loves Children. Since then we’ve been super friendly in our communications and I could tell right away he was a good person on top of being an incredibly creative and talented artist. It felt like a natural progression to get him involved. Zilla and Castro are obvious for me, that’s the team. Always enjoy having them up here. I specifically wanted to get Brainorchestra involved after his contributions to LBCF. I really admire his work ethic and quality of output. Anyone can drop something consistently but very few can do it at the level he does. Jarv, I met a few years ago on the road and was blown away by his live show. He’s truly a gem. He recently moved to BK so I thought it would be a nice maiden voyage and guessed correctly!

This album was another one of yours recorded by Willie Green. How did you two first meet? What was the recording process for this new record like?

PremRock: Green and I met in early 09’ at an open mic called BondFire at Bowery Poetry Club through the grace of Warren Britt. The indie scene here was really pretty vibrant and supportive, we clicked pretty naturally after the initial meeting. I recognized his talent pretty early on but what really sealed it was his organizational skills and professionalism. He’s got it down and he expects you to do the same which is why we became fast friends and creative partners in that respect.

Since you’ve worked with Green numerous times in the past, do you find that he knows the sound you are looking for and that you have a rapport with him? Can you tell us how this album was recorded? Was there a particular sound you were looking for with LBCF? When I listen to the record, I noticed horns on certain tracks like “Death on the Installment Plan,” “Prairie Burn,” and “Soft Machinery,” and I don’t recall that sound being on your prior records as much.

PremRock: He definitely knows how to mix my voice and has done so more than any other engineer. It’s a lot of trust for me but to set it and forget it so to speak is such a luxury. I will never have to peer over his shoulder or nudge him for any reason. He knows what needs to be done and does it. Good call with the horns! Didn’t particularly notice that myself. I love reggae and that’s where I went with “Prairie” as a producer. “Machinery” had a wonky drunk trumpet I like and felt was missing from my catalog and “Installment Plan” is just such a banger. The signature song it felt like immediately. The sound I am looking for is sort of ineffable. The kids might say it’s about vibes but it really is. I know what’s missing and seek until I find it. Probably why I don’t release solo albums often. It’s a process and Green is there to guide me.

You recently released the first video of the second track from Load Bearing Crow’s Feet (“REMORSE” featuring ELUCID) which begins with you on the ground, rapping in a chalk outline, but also features you throwing rocks in a train tunnel and other interesting visuals. How did you choose the director, Ariandé King, and how did you create the concept for the video for “REMORSE?”

PremRock: Interestingly enough, I was approached by my younger brother’s childhood friend Josh Layton who worked on the video and they asked if I’d be down to come to Philly and shoot a concept they had in mind after hearing some unreleased songs. They settled on “REMORSE.” Incredibly professional bunch...they had every minute mapped out to a tee on the day of the shoot. It was a lot of fun and I really hope to work with these guys again. Fun fact, there was someone living really close by on that train track scene, they just shouted, “What’s up?!”

Your music gives listeners insight into your influences due to references to literature or other musicians. Two examples that come to mind are one of your previous records, Mark’s Wild Years, which demonstrates your love of Tom Waits, and on the new album, a song called “Apollo Kids Meal,” a reference to the Ghostface Killah song, “Apollo Kids.” Since we all spent more time at home during the pandemic, I’m curious what were some of the things you listened to and/or read over the past year?

PremRock: I read some interesting stuff. More Baldwin, Marquez, Tom Robbins. Nafissa-Thompson Spires and Tommy Orange were the new-ish writers I checked out. Tried to diversify and really started out guns blazing but faded as each day felt just like the last, I mean we all went through it. Music-wise, I dug into Scarface and David Bowie a lot. Khruangbin, Serengeti, Quelle Chris, Shabazz Palaces, Boldy James, Stove God Cooks. Big Thief, Japanese Breakfast, Mount Eerie/Microphones---anything Phil Elverum related, and of course all the unreleased stuff from myself and the crew. Watched a TON of movies and that’s probably a separate interview altogether. I think I did the most my mental bandwidth would allow. Should’ve listened to more Neil Young and Reggae. Everyone on earth should listen to more Reggae.

In March 2020, your duo with Philadelphia rapper Curly Castro called ShrapKnel released a new album but unfortunately, touring came to an abrupt end that month due to the COVID-19 pandemic. How did ShrapKnel start and how do the two of you write songs for this project with him being based in Philly while you live in New York? Were you able to do any live shows for this record before events were banned across the US and the rest of the world?

PremRock: We really didn’t get that chance, unfortunately. We had more than a couple of things lined up and like for many people, it all came crashing down. We were able to link for the follow-up throughout the pandemic strategically. It was tough, but we made it work. Then since we both got vaccinated, it felt easy to traverse back and forth without a lot of fear.

How long have you known Curly Castro and when did you begin making music with him?

PremRock: Castro and I met at a battle-type event in Philly back in like 2013 or something. It was definitely a “can’t beat ‘em, join ‘em” scenario. We hit it off pretty well immediately but I don’t think either of us ever saw this happening. It was a pleasant surprise that the chemistry was as pronounced as it is/was and we are certainly running with it. Making music together comes very natural to us and it’s always a fun process.

On Sunday, August 15, 2021, ShrapKnel will take the stage at SummerStage in Central Park with other Backwoodz Studioz artists for your biggest hometown concert to date. Are there any sets you’re looking forward to seeing that day? Are you ready to go from playing an intimate record release show in Brooklyn at the end of July to a large outdoor stage in Manhattan almost a month later?

PremRock: I am extremely excited in general just to take in the whole scene. I mean it’s Alchemist! Backwoodz has come such a long way. It's really inspiring to watch it all unfold and to be part of the movement means extra. The magnitude is definitely not lost on me and I hope it isn’t the last time we play a stage this big but I like to think I’ll be at home in both settings. I like to perform.