Producers are a rare breed of asshole. Not as roguish as the emcee, not as pompous as the DJ, not as eccentric as the bongo player/traditional African dancer with the glittered dreadlocks and a thong full of ecstasy. They have their own niche in the hierarchy of douchie musicians, one reserved for the socially awkward, situationally violent, and dependably drunk.
Sixo, AKA Scotty Trimble, is a beat maestro and new member to the Fake Four, Inc. roster. When not riding in Ceschi's backpack or busy at the Elk's Lodge breaking down sets after their latest production of West Side Story, Trimble is an accomplished Motocross veteran and flat bill aficionado.
He's got a badass record out called, Free Floating Rationales, with a grip of even baddasser features, like Myka 9, Awol, and Onry Ozzborn, riding all over his beat meat. He was gracious enough to take time away from putting Monster energy stickers on his balls, to answer a few of these stupid fucking questions.
SYFFAL: First of all, let me say that I've enjoyed listening to Free Floating Rationales and I marvel at all the emcees featured on the record. How much cock did you have to slobber on to convince the likes of Microphone Mike, Ceschi, AWOL, and Onry to rap over your shitz?
Sixo: I guess it all started from the seed I planted in my first album, Fruits of Labor. Building on the relationships I gained with Ceschi, AWOL, 2mex , and Exist, whom all were featured on that album. After a few songs deep in to my new album, I think I gained the approval of the label by pitching the project in a way that benefits the label. By hosting mcs on the Fakefour roster with a quality of beats that well represents our love for hiphop. And that in turn led to the collaborations with these artist.
SYFFAL: Judging the record more for your instrumentals, because if you turned over a stable of emcees like that to any producer you'd get something worth listening to, you managed to stand on your own with some dense, funk-filled little ditties like, "Beacon Street" and my favorite "Dead Brain House" after that "upon a ship of pain" sample and it goes from this Spanish guitar driven romantic-esque track to boom: dark, evil, tormented, and delicious. What makes a track unworthy of being soiled by the rappity raps? How do you know when a track is destined for instrumental status?
Sixo: This track was meant for a rapper. It was a beat that I held on to tightly, in a way hiding it from my mc friends... haha. No, honestly it's hard to hang on to a beat that can stand alone on its own. This one had a special place at an early development. In a way the samples are my lyrics as if I'd spoke them myself... I guess some beats are just too personal.
SYFFAL: In the vein of "Dead Ringer" or Emancipator's "Safe in the Steep Cliffs," do you think you'll be releasing an all instrumental record, or is the romance of hearing your.. let's say capable... label mates ride your beats like cheap hooker too much of a temptation?
Sixo: That's a stern question, but as a producer I'm driven by humbly laying down the audio paper for a heart felt message, and I don't think any paper can make these mcs sound good. I believe my beats compliment who these mcs are, more due to where they come from and not where they're going.
SYFFAL: Do you even consider yourself a musician? I've gotten so many varied answers to this question from producers over the years. One of the things that attracts me to Fake Four, Inc. is its roster of actual musicians. You get that sample free, melodic flavor from so many of the beats. I saw a shirt the other day that said something like, "Sampling isn't stealing... as long as I flip it sick and make it fresh." I also saw a bumper sticker a while back that read: "Drum machines have no soul." And so the debate rages. Pick a side. And don't be all political and shit and dance some kind of a line between the two. It's an election year, dick, and I'm already tired of that shit.
Sixo: I do play synths on some beats and I compose a lot of my drums organically ... but I'm a realist. I understand music like math.
A musician can own their instrument but not the music it plays. That belongs to everyone!!! My instruments are my tools. And, although there's still combinations of notes yet to see light, I choose to reunite old ones to the futuristic versions of ourselves. Also, applying my own life's influences and a collective relevance of the genre. But one lyrical quote from Joanna Newsom comes to mind when thinking of the subject: "This is an old song, these are old blues, this is not my tune but it's mine to use." So in other words sampling old music is just as original as playing your own tune, which is really just egotistical to think your note arrangement is a creation.
SYFFAL: Ok, so you are or were a pretty badass dirt bike racer, or Motocross or something like that. I'll admit that I don't know shit about motorcycle racing outside of knowing Travis Pastrana seems to be descended from the gods of all things unpaved. When did you get involved with racing and how much do you hate that guy? And why'd you make a transition to music, as opposed to say accounting or selling insurance or pushing pills? You know the usual post-extreme sport retirement career paths.
Sixo: Nice!! If you ever get a chance to meet Travis you would understand how hard it is to hate him. I've been racing since I was 7 years old, and I did make the best living I possibly could off of motocross. But just as a struggling musician, there's lots of other equally competitive dreamers making your dream hard to reach. For me, the music transition was never a transition at all. I've always been in love with music. There was just a point where I found my place in it. I still do both.
SYFFAL: I took this quote from your bio: "A good friend and professional skater introduced him to Anticon." How much do you hate this dude for ruining what would've been a life of pop punk, massive amounts of energy drinks and a closet full of cammo cargos?
Sixo: Haha... I'd have to say there were more factors than Anticon. I'm a deep thinker, and more than the music, I feed off of intimate lyrical content. I think our path was going to cross at some point regardless.
SYFFAL: I've seen some producers in my day, and they reserve a special hue of skin color which to me is a combination of sickly green, pasty, and translucent, in addition to usually sporting professional grade cankles and a gnar smoker's hack. It's like being a writer only we get less pussy. You don't strike me as the lock-yourself-inside-for-weeks-at-a-time lab rat type. How do you go from something so badass to deciding to make beats dude?
Sixo: I guess it's due to the fact I grew up poor, and my older brother was a guitar player in a rap band. But, not having the money to fill all of my time racing left an opening for more affordable activities... I skated, scratched records, BMX dirt jumped, and made beats. I've just always been unable to stay true to one thing. At a point I realized I needed to concentrate more on one thing, in order to progress further... just never could decide between racing and producing, so I did both. And bottom line, I'm a soul searcher who's just not scared of pain.
SYFFAL: So you're like one of those dudes who is just naturally the shit at everything that everybody secretly hates but can't deny? What is something that Scotty Sixo sucks dick at?
Sixo: I suck at sucking dick... I think I try too hard and I'm too competitive to just absolutely suck at everything. There's things I'm not good at, like technical writing or following a normal structure. I'm also not great at obeying authority... but the sad thing is I'd probably be good at sucking dick... lol
SYFFAL: Alrighty then... you can pick up "Free Floating Rationales" here and download "Gorgeous" feat. Ceschi and Awol One here: