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Toronto, ON - Emcee-producer D-Sisive cut his teeth as a member of Cryptic Souls Crew in the mid-90s, earning his stripes battling on the infamous Eat the Beat segment of DJ X's Powermove show on CKLN and freestyling at Planet Mars. Studying under CSC members like PHATT al, Abdominal, Double Soul and Planet Pea, D-Sisive eventually released the very personal J.A.C. EP, built his stage show into performance art, and earned a reputation that very nearly had him signed to a major label in Canada. But suddenly he disappeared off the face of the Earth, only popping his ostrich head out of the sand for occasional appearances – including playing a part in the creation of the very funny “Rolling With Bob Saget” with actor-comedian Jamie Kennedy. His reasons for turning into a hermit are best detailed in his song “Brian Wilson” from his new album The Book. Years later, D-Siggy is pretty much starting over again. He cleared out his backlog of songs with The Mixtape, recently offered up a free downloadable EP of raps over Iggy Pop music entitled The Idiot: Hijacked, and is days away from dropping The Book on Urbnet Records. In this interview with HipHopCanada, D-Sisive opens up about the past, present and future trajectory of his hip hop career.
HipHopCanada: Back in the day you were a member of the cross-Canada Cryptic Souls Crew, which included prestigious rappers like PHATT al, Moka Only, Abdominal and more. How did that come about? What the hell happened to CSC?
D-Sisive: I joined CSC when I was 15. Planet Mars forever! It was the best thing that could have happened to me. Planet Pea saw potential in me and invited me to the studio to work on tracks. I had zero studio experience at that point. I was intimidated being around them, but I was a sponge. Pea and Abs were like my older brothers. I looked up to Abs and was so excited when he agreed to do “Lost Sight” with me. Pea would always let me hit the studio. After school, straight to Barton St. It’s all I thought about. I watched artists record. Tried to take in all I could. I was dedicated. Studied everyone's styles, from Abs’ breath control to Double Soul’s stage charisma. I was obsessed. Whatever they were listening to, I had to have it. I owe a lot to those guys. As far as what happened? I guess like all things people drift apart. I acted my age and did some stupid shit I now regret. We’re over it now. It’s all handshakes and hugs. Cue the happy music.
HipHopCanada: How important was the Eat The Beat section of DJ X's Powermove show on CKLN in terms of building your reputation and your skills as an emcee? Do you still battle?
D-Sisive: It was very important. Those were the days when freestyling and battling was my life. I couldn’t wait to hop on the open mic at Planet Mars. It helped develop me as an artist. Planet Pea played a huge part. Mastermind played a huge part. Brent from Just Entertainment played a huge part. DJ Serious. The list goes on. People forget that I started in 95. I’ve been around for 13 years. I’ve seen a lot happen. I’ve also seen a lot not happen. Welcome to Canada, the home of empty promises.
HipHopCanada: Around the turn of the millennium you were being touted as the golden child most likely to get a record deal. The public waited and waited and nothing ever materialized. What happened? Why did the major label deal never go down?
D-Sisive: It never went down because I never finished any songs. I wasn’t happy with what I was creating. The pressure got to me. Everything had to be perfect and I couldn’t let anything go. Things were moving so fast. I was being flown to L.A. to meet with high-powered people. Instead of coming home and capitalizing off of that and the interest I was gaining, I began to develop an ego. I was my worst enemy. The first verse of “Brian Wilson” can answer that question. I fucked everything up by not doing anything. Now here I am, starting over. Nice to meet you, sir. Again!
HipHopCanada: How did your father's passing affect you?
D-Sisive: Huge. He was my best friend. It was an odd friendship, but he was my best [friend]. “Kneecaps” explains that. He couldn’t beat his demons and I watched the whole thing go down. Mind you, there are millions of people that have seen the same, if not worse, but it still affects you. We fought together and with each other. A lot of ups and downs. But nothing could have prepared me for losing him. That fucked me up. That, and all the other things that come with death. Standing in a room, picking out the coffin that my father will be in the last time I see his face. That’s enough to fuck up anyone. It just drained me. I didn’t have the strength to deal with it properly. I had the support from others, but when you don’t have the strength you don’t want the support. It’s fucked.
HipHopCanada: Aside from a few guest appearances here and there, your big reintroduction to the hip-hop community was The Idiot: Hijacked, where you rapped over music from Iggy Pop's The Idiot album. How did that idea come about? Why that album?
D-Sisive: I’m a massive Bowie fan and love everything he’s done. I went through a huge “Nightclubbing” phase. Listened to it over and over again. Annoyed a lot of friends. I thought it would be cool to rhyme over it. Probably my only chance to ever rhyme over Bowie’s production. Then I felt the same about “Dum Dum Boys.” Next thing I know I’m recording an EP. Would have done the whole album, but the other songs didn’t have open loops and “China Girl” felt weird. I just wanted to rhyme over Bowie.
HipHopCanada: Why did you decide to make it available as a free download? Did it get the reception you expected?
D-Sisive: Legal reasons, Jack. As far as its reception? It did and it didn’t. The EP is what it is. But I still think “Nightclubbing” has yet to see its success. Maybe I’ll be able to clear it for Let The Children Die. That would be awesome.
HipHopCanada: Was there a reason you went the route of The Idiot: Hijacked as opposed to just jumping in feet first with The Book?
D-Sisive: I felt I needed to get something out there as soon as possible. I wasted a lot of time. I was forgotten. Had to put something out to get people talking. When I released it, I was already completing The Book, and if Urbnet didn’t pick it up I would have released that for free.
HipHopCanada: Tom Waits is credited as appearing on “Ambulance” from The Book. Did he really make an appearance or is that another hijacking?
D-Sisive: I refer to it as a glorified hijacking. I hijacked “Underground” with intentions to film a puppet video and leave it at that. Sent the song to my manager who happens to have a relationship with Tom’s. Next thing I know I’m getting a call telling me Tom likes the song and is willing to let me use it. I almost puked. Signed the paperwork and cleared it. You’re going to love the video - videos if all goes right.
HipHopCanada: How important was it for you to write about the many personal situations that crop up on The Book and include them as part of the album?
D-Sisive: It was and is very important. Not really in a therapeutic way. More in a challenging myself way. Also, to show listeners there’s another side to me. That, and I’m not the same person who wrote “Popped.” I still get props for that song, even though it did more bad than good. Hopefully now people can put that to rest and give me props on what’s now. “Lights Out” slaughters “Popped.” [Laughing]
HipHopCanada: Are you concerned about being considered too emo? Or of not being taken seriously by the hip-hop community because you're not presenting yourself as hard enough?
D-Sisive: I don’t understand the emo label. It’s short for emotional, right? As far as I’m concerned, emo is used as an insult. Maybe I’m wrong. Every time I hear it used it’s in an insulting way. The whole thing confuses me. Whatever. I’m not concerned. My music was written from an emotional perspective and if it evokes emotion from a listener, hooray! If that makes me emo, whatever. If that puts me in the same category as Good Charlotte, pass the razor blade and run me a bath. I’m pretty sure the hip-hop community would not take me serious if I presented myself as hard. I’m far from hard. “Windows rolled up the whole time.”
HipHopCanada: Speaking of which, what inspired “ThisIsWhatItSoundsLikeWhenWhiteboysListenToHipHop,” the one comedic song on The Book?
D-Sisive: The beat. Anonymous Twist sent it to me and I fell in love. I was listening to it over and over again and kept repeating ‘this is what it sounds like’ to myself. It was either ‘when doves cry’ or what I went with. I thought up the concept and wrote the song that night. I’m not sure if it fits on the record, but people are loving it. It would be hilarious to me if there are any whiteboys that are offended by it. That would be amazing.
HipHopCanada: A few of the tracks on The Book are self-produced using your alter ego Orville Knoblich. What's up with that name? Where did it come from?
D-Sisive: Orville Knoblich has been around for six years. The name came with the Ostrich concept. Ostriches need names too. Orville the Ostrich. Good morning, Mr. Knoblich. Sugar with your tea, sir?
HipHopCanada: So, what's the deal with the ostrich?
D-Sisive: I am the Ostrich. Wanna race?
HipHopCanada: Your production style creates some very unique music for the album, especially with the first track “Intro (The Story of An Artist),” which many might not even consider hip-hop. Do you consider it hip-hop?
D-Sisive: I consider it music. Consider it what you want. Is it really that important? I’m tired of the hip-hop argument. You either like it or you don’t. If you don’t like it because it’s not hip-hop, you’re a bit of a douche. If you don’t like it because you think it sucks, there’s a hand I can shake. Technically, it’s not [hip-hop] because it’s a cover of a Daniel Johnston song. But I rap on it. Daniel Johnston and covers aren’t hip-hop. Rapping is. The debate continues…
HipHopCanada: As a more than capable producer, why did you choose to go to outside sources for the production on The Book? Have you given any thought to self-producing a full album for yourself?
D-Sisive: Self-producing an album is definitely on my bucket list. I’ve started working with outside producers on Let The Children Die (the full-length). I haven’t personally produced anything for it yet, though I’m sure I’ll have a few. After that record, who knows? D-Sisive is Dead is too premature to discuss. Programmed drums and a broomstick bass. Hip-hop, yo. Or is it?
HipHopCanada: You went through a phase where your live show was a big stage production. What was the impetus for that? Are there any that are particularly memorable to you?
D-Sisive: I decided to go with that type of show because I didn’t have any real product. That, and I was bored with the same old shit. I was 21 and had been performing for six years. It started to get really boring. I started playing with concepts and my show started catching on. Then I felt the pressure of having to top the last. That got boring. So I stopped. I’m sure many people think I’m a moron for that, but I couldn’t do it anymore. My favorite show was the Now Magazine NXNE showcase. Esthero brought Saul Williams to the show. A friend of mine came backstage freaking about him being in attendance and there I am helping my friend put on a chicken costume while my other friend asks me if he’s “pulling off the Remy Shand look” while adjusting a beret. Saul Williams is going to love this.
HipHopCanada: Are those days of the live show as a big production now long gone for you?
D-Sisive: For now. It’s all about the music. I’m a new man! Hello, Jerry. See what I did there? Clever, wasn’t it? Nope.
HipHopCanada: What's the deal with all these crazy puppet videos you've been releasing for songs off The Book? Who is responsible for the concepts? For the puppets?
D-Sisive: I’m responsible, though I couldn’t have done the “Story of an Artist” video without Stacy Placey. I spend a lot of time inside. I have a lot of weird shit. Figured I’d put them to us. Everyone thinks I’m crazy. It’s all for the kids. And it keeps me off the pipe.
HipHopCanada: The Book is dropped May 27th on Urbnet. How did you hook up with them? And why did you decide on Urbnet?
D-Sisive: I’ve known the Urbnet boys for a long time. Sudbury connection, son. Pitched it to them, they were down. They’ve done really good work. It was a no-brainer.
HipHopCanada: Anything else you'd like to add?
D-Sisive: I’ve got e-mails from people who think I wrote a book. The Ballad Of Orville Knoblich! No book. The Book! It would be pretty lame to call your book The Book. But your record The Book? Next level, jack! It’s not a book at all. It’s a CD.
Billy Red Lyons, Rest In Peace.
Oh yeah, the record. Buy that shit, jack!
Editor's note: For more information on D-Sisive check out http://www.myspace.com/dsisive or http://www.aboyinaroom.com.
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