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Akrobatik is the complete MC.

His penmanship as a song writer is insane as he’s shown a penchant to spit some punishing battle raps, but also flesh out a concept and deliver a message. He has a voice and delivery that commands respect, and on stage, his energy and presence are undeniable. Skill has never held him back, but as Akrobatik stated in our interview, his output is the one thing that has limited him. He’s been releasing singles for over a decade, but since his first EP in 2002, Akrobatik has only released two solo albums, Balance (2003), and his latest Absolute Value. In between the two albums, Akrobatik partnered up with fellow Boston natives Mr. Lif and DJ Fakts One to form The Perceptionists for their Black Dialogue album, but even still it’s been too long to ride the momentum up to now.

The way he sees it, Absolute Value is a fresh start and also the beginning of a commitment to stay putting out product. Understanding this, he set out to make sure his re-introduction was a powerful one that would stand out. Enlisting a top notch production team with beats from Illmind, Dilla, 9th Wonder, and J-Zone amongst others, and an equally stunning list of lyricist from Little Brother to Chuck D, Ak surrounded himself by the best but didn’t lose himself in the process. Fourteen tracks deep, Absolute Value is a tightly threaded collage of songs that demonstrate Ak’s agility and potential as a lyricist, as well as his ability to make a strong album with substance.

Just as he is in rhyme, he is sharp and resourceful with his words in conversation. He is honest with his analysis of the game, and his position in it, adding another positive trait to his credit. Read on, give Absolute Value a listen, and I guarantee you won’t forget about Akrobatik.

Akrobatik

TSS: How are you doing today man?

Akrobatik: I’m real good, just out in South Beach vacationing.

TSS: So are you taking a vacation to celebrate the albums release?

Akrobatik: Well, yeah I mean I’ve been on the road for six weeks so this is like the end of a long trip that has been going on since January. I’m just taking a few days to relax, and then I’m gonna go home and recharge and then get back on the road in April.

TSS: How was the last tour?

Akrobatik: It was good. We started out in Vancouver and went all over the place to Savannah, Georgia to Jacksonville, so we’ve been all over the country the past six weeks.

TSS: Are there any realizations that come to you by hitting all those different regions?

Akrobatik: Well right now is a rebuilding process for hip-hop. I do a lot of shows in towns where there used to be huge weekly gigs, or massive underground audiences, but the audiences have dissipated in a lot of parts of the country in the five years since I put my last record out. From that I’ve learned that you can’t take any time to rest in this game because the audiences are fickle. I just gotta keep working hard and grinding. It hasn’t affected me too negatively yet, so hopefully it won’t.

TSS: One of things I wanted to talk to you about was how the game has changed for an artist like yourself. It’s been a decade since you put your first record out, so I feel like you have a good grasp of how the state of the underground has shifted through the years?

Akrobatik: I feel like when I first started putting out records, there was no MySpace so it wasn’t watered down. People weren’t using the Internet as much to promote actual music. It was a clearer lane back then, so I feel like I’m fortunate to have gotten in the game when I did. From then to now, we’re in a situation where everybody raps. A lot of fans became rappers, and everybody is trying to do it and get on. I just gotta keep doing my thing, and make sure that I stand out amongst everyone that is doing it, and make sure that some of those fans who became rappers are reminded that maybe that they should just be fans (laughs).

TSS: Do you ever do that and let these cats know now that this isn’t something for weak individuals?

Akrobatik: I like to do it like this. I’ve done a lot of shows around the world, and I just try to lead by example. You know that I’m not some super wealthy famous rapper, I’m doing ok and enjoying my life and career, but you know I’m not super paid. So when I come through to the venue, and put on the show that I do, and you see it, and you see how I run my business, and you know after all that even I am in a position to where I work super hard over a long period of time to sustain my career. If you know that and know that deep down in your soul that you can’t fuck with that, then why are you bothering? That’s how I feel.

It’s not about talent anymore, there is so much that goes into having a successful career. You gotta have talent, networking abilities, the stage show, the managerial skills, and these cats don’t understand that, they just want to be on the mic. I think that yeah, in those situations, things will take care of itself, because I’ve been in the game for ten years and every year there is a new wave of cats who have the CEO of the crew, the first lady of the crew, their mixtape series and all that, but you don’t hear from them after that summer because they realized what they were really getting into. I’m not gonna be the one to go around and smash peoples dreams, because I think anybody has a shot, but I think the average cat has a better chance of walking on and playing for the Celtics than they do having a career in rap because they made a demo.

TSS: I hear you. I want to switch it up, and talk about your experience making albums now. Obviously, an underground artist doesn’t have anywhere near the budget as a dude on a major, but are things at such a low level that it’s almost impossible to work with?

Akrobatik: Absolutely. I mean, you gotta be smart now. You can’t depend on a dollar to buy you what you need. Imagine if I had to pay top dollar for all the guests and producers that I had on my album…it would never come out. You have to work with like minded artists, people who understand what the game is about and what’s going on, and people who first and foremost want to put quality music out there. That is the bottom line. All of the artists I worked with on Absolute Value feel that way, and were willing to work with me to make sure that everybody was happy in the process of making the music.

TSS: So all the guest spots were based on previous friendships?

Akrobatik: Yeah, other than B-Real, I knew everyone on the record before we did the song.

TSS: One of the other collabs I wanted to talk about was the Freddie Foxxx joint because I think you guys have a similar style and demeanor. What was it like to go at beat together?

Akrobatik: Bumpy is just so knowledgeable, and really took time out of their schedule to kick it with me. He would call me and talk to me for like an hour, and 2-3 days later we’d be on the phone again talking for like an hour. He’s got lots to share, and has lots of stories, and knows a lot about the business and what to look out for. That part of it is what I really enjoyed getting out of the situation. As far as the music part, I just knew it was gonna be dope. I heard the beat and I knew what the song was about and who needed to be on it, so the fact that it became a reality was definitely a good thing. But you gotta come aggressive with it, cause you can’t be sounding soft on a track with Bumps.

TSS: So much of hip-hop is based on that friendly, or not so friendly competition. Did you feel that going in like “I gotta get him on this one?”

Akrobatik: Nah, not at all. No. Bumpy Knuckles is a legend. Honestly man I look at the whole thing as a privilege more than anything else. When I listen to song I don’t even like to compare, like who ripped their verse the most. I feel like every MC is gonna do what they feel on that particular beat, and I appreciate the contribution that Knuckles gave me, and every one’s contribution.

TSS: One thing I really like about the album is that it’s real concise. It sounds like you really put time and thought into making sure the album didn’t have any missteps.

Akrobatik: Yeah and that’s the concept behind the name of the record, that it will be worth it from beginning to end and it have some replay value. It’s not a bunch of stuff to skip over, or not just one or two songs you’re checking for. To me, it’s a complete project and one of things that has helped me realize that is that when I talk to people about the record, it seems as if every one’s favorite song is a different song. I’ve heard every one of the fourteen songs mentioned, so that makes me feel like I did a good job.

TSS: It’s funny because my favorite joints are “Step It Up” and “Rain,” which couldn’t be two more different songs.

Akrobatik: Yeah, that’s like two opposite side of the spectrum’s. “Step It Up” is in my top three, but “Black Hell Breaks Loose” is probably my favorite. That track reminds me of “DWYCK” where you have three MC’s, everybody just going for theirs with no real hook and just a funky beat. It’s one of those songs as soon as I press play I just love every note. To me, it’s just the classic hip-hop sound; definite head banger.

TSS: On the production tip, you got a couple Illmind joints. That dude is absolutely killing it, and I feel like he’s still kinda off the radar.

Akrobatik: Well, he’s doing production with G-Unit now, so that might end the whole off the radar thing. I think he’s one of the best out there to be honest with you. I love his sound.

TSS: This might be weird question, but what’s it like to get a beat CD from that cat?

Akrobatik: You already know that every single beat is gonna be tight. He just sent me one with 40 beats, and I loved every one. It’s really hard to choose, so it’s more like what mood do you grab from each track. If I could afford it, I would do a whole album with him.

TSS: You sound very refreshed on this album, like you had a purpose or goal you set for yourself, not just for the sake of doing it. Did you feel that way going into it?

Akrobatik: I did. If anything my mission is to just get my name back out there, and stay relevant. My long-term mission is to just be remembered, and to be part of the legacy of hip-hop and be known as one of the cats that was fighting to keep it alive when it was in a low point. If I can accomplish that, I’ll be happy. But my immediate goal has already been accomplished, because I just wanted to get this record out and be happy with it. Now it’s time to start thinking about new songs, and new projects.

TSS: So are you already in the mindset of the next project?

Akrobatik: Well right now I’m in South Beach, about to go have some dinner so, no, I’m not in that mindset at all (laughs). But, you know, in the next week or two, I’m gonna start going over beats because I definitely want to turn something in by summertime so I will be ready to come back next year at the same time with another solo album. I’m also trying to get this Perceptionists project off the ground in the next couple months, so I got a lot of work ahead.

TSS: One of my favorite songs of yours was the “Internet MC’s.” That was like 2000 when you dropped that, how do you feel about that situation now? Do you feel it’s gotten worse, or mutated into something bigger?

Akrobatik: I feel like it’s really bad right now. There was a time when not everyone could rap just because they wanted to, or make a CD because they felt like it and throw it in people faces. On one hand it makes it so that the MC that is above average that actually has a shot at a career, that is really working hard, is almost hopeless to get on because it’s so hard to filter out the garbage, or find artists that are good. There are more rappers than ever, and I don’t know how cats will survive.

Like I said, I’m thankful because I already had my foot in the game before this phenomenon. I already did what I had to do to stand out and let people know I’m a pro at this, but now I feel like a lot of artist that have those skills will get overlooked. It’s unfortunate, it really is. I don’t know if it’s like people are afraid to tell their friends that they’re not good or what. With everybody focusing on trying to be an artist, there is a lot less focus on people getting out there and really working it hard and building a name for themselves. Everybody just competes on Myspace, and that’s just goofy. What are you competing for? Myspace friends? I can tell you those “friends,” whatever that number is, are not representing how many records you’ll sell. It takes something to get people to make that purchase, and it takes more than some songs on Mypsace and a YouTube video. This business is an industry and it’s being strangled right now, and if you’re not fully equipped to fight against that, then you’re gonna lose. We’re talking like 1-2% of people out here that are trying to do this, understand what that actually is.

TSS: Do you feel it’s the type of situation like, you know all things that inhale must exhale, and that things are going to self implode?

Akrobatik: I don’t now. I would hope that as the industry figures out a new business model to overcome what’s going on right now, that hip-hop won’t suffer too much from that, and that it can rebound and come back. It’s on the artist too though. There needs to be a commitment on the artists part to keep their fan base engaged. And then there needs to be a commitment on the fans part too to support what they know is real. Unless that happens, it doesn’t matter what goes in the office buildings.

It really is a grassroots thing, and people need to support what they say they love. There are people out there who will know about Akrobatik or Little Brother, but will grab the album off Limewire and then go run to the store and buy the Souljah Boy tape because it’s out there packaged and promoted a different way. It’s like the guy who won’t make a cheeseburger in his own kitchen, but has no problem going to McDonalds to buy one. Why accept it from an artificial source when you know the one at home will taste better and be better for you?

TSS: To wrap things up where do you see yourself right now, and what’s your goals for the future?

Akrobatik: It’s all about showing and proving. Every time I get on stage, I treat it like it could be my last. I go all out, at all times. I want to keep working with dope producers and making hot joints, and keeping my fans happy. I think that I’m on the right path as long as I’m a little more productive over the next couple of years and get some more projects out, I really feel like I can make a dent in the hip-hop game. I think they’ll overlook that I’m from Boston, and don’t have any major hip-hop crew affiliations. None of that stuff matters, and at the end of the day if I show and prove and remain productive, I’ll be good.

Listen To…

“Kindred” featuring Chuck D

“Be Prepared” featuring Little Brother

“Put Ya Stamp On It” featuring Talib Kweli

For more info, visit www.myspace.com/therealakrobatik.

Previously Posted – “AK B Nimble” – Review Of Akrobatik’s Absolute Value