“Apollo Brown and Planet Asia” sounds like the best Saturday morning cartoon to never exist. It was inevitable that the two heroes of the subterranean hip-hop scene—though established on opposite ends of the Aughts—would eventually cross paths. For one, they each play nicely with others. Apollo, a producer from Detroit, has stacked his catalog with collaborative projects featuring Boog Brown, Hassan Mackey, Guilty Simpson, OC, Ras Kass and Skyzoo. Planet Asia, a veteran lyricist from Fresno California, came in the game as one-half of Cali Agents and is currently part of Gold Chain Military and Durag Dynasty. Along with his own lengthy solo catalog, Asia also boasts collabs with DJ Muggs, Madlib and Gensu Dean. Secondly, they both have a wry sense of humor.
“I met Apollo at a Lil Uzi Vert show,” Asia jokes about their first meeting. Brown protests vehemently before it’s corrected that their introduction was actually a Ras Kass party at Escala in L.A. Their first musical collaboration was on the track “Nasty” from 2012’s Dice Game with Guilty Simpson. This was followed by an experiment in 2014, Apollo’s Abrasions: Stitched Up EP.
“Obviously I’ve been a fan of Asia for a long time. He had an album called Abrasions with Gensu Dean, and I was kind of jealous because I’d always wanted to do an album with Asia. So I told Mike (at Mello Music Group) you gotta let me remix the album or something or put out an EP. So we came up with this idea for Dean to remix five joints off the Dice Game album, and I did 5 off the Abrasions album. Something about the way Asia sounds on my beats is crazy.”
The trifecta was completed when Asia went toe-to-toe with Westside Gunn on “Triple Beams” from Apollo’s 2015 compilation Grandeur.
“That really made people say enough is enough, we need a goddamn album,” says Asia. “That Dice Game was a monster and that’s when it got sparked, but when he dropped the compilation we didn’t have no choice. The fans were about to kill our ass.”
“The fans be bullying man. They will bully you into stuff,” Apollo confirms. “It was inevitable anyway. We just made it happen. I had a concept and sound that I wanted to go for. I had most of the beats already kind of mapped out and it was just a certain sound that I wanted to go for. I had a script and needed the perfect actor. And Asia was the perfect actor.”
The finished collaboration is Anchovies, a 15-track master class in “Fly exotic thug shit.” UGHH caught up with Apollo Brown and Planet Asia to get the secrets to serving up fresh soul food and when to hold the mayo.
A lot of the early commentary about Anchovies has been how minimal the sound is. Was that intentional?
Apollo Brown: Absolutely. This is the kind of sound I started making when I first started making beats in ‘96. When I had fun making beats. There is a lot more to it these days. I’ve always been a fan of just minimal, chopped up loops with minimal drums. There is something about it that just grabs me. I didn’t add any drums to this album. Any drum sounds you hear, I beefed up out of the samples. I wanted it to just mesh really well and I wanted the vocals to be prominent, not the drums.
The minimalist shit has been going on for a minute. Madlib has been doing it. KA does it. Roc Marci does it, Westside Gunn and Conway. This is where it’s at for me.
Planet Asia: I’ve [known] Roc Marci for 15 years or some shit and we used to talk about not having drums on beats. I don’t make beats so I used to have to sift through a lot of producers. I used to tell them don’t give me no drums. Sometimes they would send me a beat, and sometimes they’d start the beat with just the sample playing and I would hit ‘em back saying, “I only want the beginning part. I don’t like that part when you bring the beat in.” A lot of my shit in the early 2000s was me doing that, but now I have producers I can go to for that sound. Everybody wants to overproduce and get a placement.
That’s what made “You Love Me” a stand out for me. I like the way the voices came through the track.
AB: I’m all about voice, delivery, and content. And when you got an emcee that has all three…not all emcees have all three. Asia has all of them. I love it. My whole mentality was niche. That’s why I named it “Anchovies.” They aren’t for everybody. You either love them or hate them. And that’s what this album is. If you get it, you get it.
Asia, those beats moved you to really open up and get personal. What was your approach to writing to the beats?
PA: You gotta attribute half of it to Apollo because he was on some Cus D’Amato shit with me. I had to get up early, run eight miles, and then get to the studio. Like he said, he made the beats like he did in ‘96, I felt like that’s how I was rhyming more, on some High School shit. I had four of the beats and wrote one of them in Europe, “Duffles.” I wrote that in Germany. We took it back to the cafeteria. That’s how I feel. You may not have had all the equipment, but you had an Akai sampler and a sequencer and you just looping up shit, and the emcee is just rhyming. Loop that shit up, and let me get busy. I think hip-hop has gotten too fucking technical. I was watching the VMAs and none of the fucking Black artists had any soul. Everybody else was doing soulful shit and we were the ones with the super spaced out techno beats.
AB: Exactly. All the music out now is sounds and words. I need feelings.
PA: I’ve gotten beats from producers I love and sometimes a beat can be too big for me. I feel like I’m fighting it. I don’t wanna feel like I’m fighting the music as an artist, and sometimes I think the producers don’t think of the emcee.
AB: As a producer I’m not trying to go tit for tat with the emcee on the same song. I sit the vocals up a lot higher now. The way I made the beats, there was room for the vocals.
PA: You can hear that on the Abrasion album remixes. It’s a pet peeve of mine for my lyrics to be moved, and Apollo is the only artist I’ve heard put my lyrics to a different beat and it sound better than the original. You ain’t put my shit on some goofy pattern. You gotta have real rhythm to do that. You get a lot of chaos in that.
AB: I’m all about the pocket. That’s my white side, man.
PA: [LAUGHS HYSTERICALLY] You are dumb, bruh. Those loops, man. He finds those ones.
And all of the songs were recorded at Apollo’s house?
AB: We don’t do email albums. You know my usual process is I send the beats out to the emcee, they write, and I fly them to my studio. We knock it out in a few days, get it recorded, get some of the viral media and whatever else. But this guy wrote 90% of the album in the studio, which is against all of my rules. Writing in the studio is nothing but time, and time is money. Write it at your crib and then when you come to me we can knock this out as fast as possible, but it didn’t happen that way. I’m getting a lot more open, but it used to be a strict rule. When you working with creative minds like Skyzoo and Asia who write in the studio, I can’t interrupt that process. Your track record speaks for itself. I’m not gonna interrupt that.
PA: I used to write raps at home. You that little kid with a salami sandwich and a beat tape you just happy to have a beat tape. But after so many years I really get the urge to rap when I HAVE to rap. I need some kind of pressure to rhyme.
AB: We made the whole album front to back in six days. Everything was written right there. Some of the beats were made on the spot.
PA: Yeah, two or three songs a day. It ain’t hard when you got good music. The newest joint on there was the “Avant Guard” song. When I heard that beat I said, “Shit! I gotta have that. Let me jump on this NOW.” The “Pain” song was one of the last ones I did because it was a subject that I didn’t want to talk about, but I feel better that I released all that pain on a record.
AB: It got emotional in the studio…
PA: I cried when I wrote that. It’s a true story. Everything in that song is real. My cousins both died in the same store two different times in the same exact way. Somebody drove by and shot one and another dude was driving off and he shot my other cousin. I had two aunties that died the same week of cancer, back-to-back. One day after another. And one of my aunts that passed, it was her grandson that got shot. My cousin.
You got Willy The Kid, Guilty Simpson and Tristate as the guest artists. Why them?
PA: Those are like my comrades. I got numerous songs with Will. I’m into that type of shit. I’m more of a group type of person anyway. I love having different colors. It’s like having a different instrument. Guilty Simpson is like bringing out a 12 gauge. Willie is like the 007 dude with the silencer, and Tristate is like an AR-15 or some shit.
That’s a lot of violence. So Apollo, you brought out those “Metal Lungies” horns on “Duffles”…
AB: If you know it, you know what it is. Though I like mine better. I won’t even front. But mine’s more minimal. I’ve always heard it with drums, and I feel like that sample had enough in it already. The drums and break in it is enough. Just beef it up a little bit and leave it like that. I made it my own. I had to calm the horns down a little bit so Asia could cut through. They were screaming.
PA: He took a lot of mayonnaise off that sandwich so we could have a perfect sandwich.
AB: I like mayo bro…
There goes your white side again…
PA: You should’ve never said that at the beginning.
The first track, “The Smell” made me think of The Matrix where Agent Smith is interrogating Morpheus and says it’s the smell that kills him. What does the rap game smell like to you right now?
PA: It’s a bunch of men, so I think it smells like draws and breath. [laughs] Like a fuckin’ locker room.
AB: It definitely don’t smell like roses.
PA: I think hip-hop is in a good space for what we do. I can tell you from a person that’s been on Interscope Records, a mainstream, with all the yada yada, that was the best and worst time. The music that I’m making now is what I really wanted to do when I first came out. But in the era I came out in there was a lot of politics just to make music. Me being from the West Coast first of all and not sounding like the average West Coast artist, I had to go through a lot of stressful shit with music as a young man. Now this type of music is accepted and there is a lane where people enjoy grassroots, organic hip-hop. There is a lane for us now and there is a lane for the weirdo shit too.
You dropped the video for “The Aura,” how many more are you releasing?
AB: We have three. I hate doing videos. I hate photo shoots. During a video I’m Eric B all day. You know how he’d be in the background looking like a security guard. Just straight up Nation of Islam. That’s me all day. I look stupid. I look like a dumb ass every time. Every time a video comes out I’m like WTF are you doing? It’s a necessary evil.
PA: I’m gonna get you a bigger chain [laughs]
AB: I don’t need a bigger chain. My chain is good. But my videos, I do the same thing in every video. I don’t know what to do with my hands. I don’t know if I should bob my head or stay still. I’m not that dude that points at the camera. That’s not my personality. So I look the same in every photo. I look like an asshole.
PA: “I don’t know what to do with my hands.” That’s some shit Sean Price would say. “Yo B, I don’t know what to do with my hands in a video. I look goofy right now.” It gotta be natural.
AB: I don’t have rap hands. I don’t like props, I don’t like cliché shit. I’m not gonna be in a video with an MPC and shit or a boombox over my shoulder. Or standing on some train tracks in front of a bunch of graffiti. I almost screamed when me and Ras Kass did a video (“Humble Pi”) and I had headphones walking down the street. You wanna put headphones on me right now? So now I can’t hear shit. It’s like putting turntables in front of me and shit on the ground in the middle of nowhere. I think the wire for the headphones actually fell out of my pocket and was dragging on the ground. I didn’t notice it until the video had like 60K plays.
PA: I think we just gotta give you plates of food to eat.
AB: I might do that and that might become my thing. That might work. Get a plate of food and just eat in every video from now on. Like a real plate of food. I do have a video where I was eating ice cream. Just me and Roc Marci in the “Lonely and Cold” video. But I just be looking dumb as shit in videos. I can’t count how many times I do the “Birdman hand rub.” Rubbing my hands together like it’s cold, and it’s 80 degrees outside.
PA: That’s how I feel about photo shoots. I don’t know how to stand.
AB: Right, and you a skinny fat dude. Your tiny shirt is over your Ethiopian belly. Skinny shoulders with the Ethiopian belly.
PA: Baller belly. I run hella fast though.
AB: At least I’m fat and the rest of my body is fat. Not just my belly. It goes along with it.
PA: Your arms are short though.
AB: My arms are mad short though. My limbs are short. They stupid short. Last time I got arrested, the cop had to put two of them on there because I couldn’t put my arms behind my back, bro. He had to put two sets on there.
YOU got arrested? For what?
It was real dumb stuff back in the day. Nothing serious. I don’t have a record. Was a suspended license or some dumb shit like that.
PA: Yeah, we can’t do dumb things. We gotta go out the country. That’s why I be wondering how all these gangsta rappers [act hard]. You not gangsta, you got a passport.
AB: Yeah, if you were a real gangster you wouldn’t have no passport.
So I guess my last question was spinning off the food thing. With all the artists you’ve work with, is there anything ever left over? Would you ever take all these lyrics and make a super posse cut with Ras Kass, Skyzoo, OC and Planet Asia?
AB: That’s actually a good idea, I never thought of that. That would be kind of sweet ‘cause I got stuff left over from every project. I can make a 12-minute album of just mad 16-bar verses where everybody is talking about something totally different. The whole song would be random as hell.
PA: Call it the RAF album, Random As Fuck. Apollo got the throne man.