Young Kazh presents “krazy world” Official video,featuring Moka Only.Directed By Big Shot Music Inc. Beat Produced by: Jasper, Makemdef, & Steps Neccesary
Train of Thought is Jeff Spec, Ghettosocks, Muneshine and Timbuktu! They hooked up with their homie Moka Only to drop this tight little track on their last tour, and then they got loose with mcenroe to show it off.
Produced by Moka Only
Directed by mcenroe for downthedial.com
Shot by Phil Lanyon and mcenroe
Live Vision MGMT Presents:
Moka Only – I’m Swanky.
Directed by Panayioti Yannitsos and Ashley Mendoza.
Edited by Panayioti Yannitsos.
Live Vision MGMT. Presents Moka Only – I’m Swanky.
Directed by Panayioti Yannitsos and Ashley Mendoza.
Edited by Panayioti Yannitsos.
Preview songs from The Original Motion Picture Soundtrack by Zzbra on the iTunes Store. Preview, buy, and download The Original Motion Picture Soundtrack for $9.99. Songs start at just $0.99.
ZZBRA [Moka Only & Evil Ebenezer] : The Lost Trailer (1983) / The Lost Music Video “Elephant” (1993)
We have found it! Lost footage from the most epic movie to never be seen ZZBRA. While visiting an estate sale of a recent Hollywood elite to decease, we discovered the lost trailer for the film ZZBRA made in 1983. In the same box with the trailers reel was the music video made for the song “Elephant” off of the Original Motion Picture Soundtrack produced a decade later in 1993.
ZZBRA: The Original Motion Picture Soundtrack
Starring Moka Only & Evil Ebenezer
Directed by Stuey Kubrick
Available now from Camobear Records
Vancouver, B.C. – In a chilly brick building in Gastown, the HipHopCanada team watches Moka Only and Evil Ebenezer ham it up for the camera. Between the quirky dance moves, the Gorilla on the ones and twos and the overly dark camera faces it becomes obvious that these guys are having some fun. The bonus is that they sound good while doing it – the ZZBRA album will be hittin the streets January 31st if you need proof – and in the meantime, the dashing duo talk to HipHopCanada’s Samantha Cairns about their buddy story, their international presence and just what a ZZBRA is anyways.
“We ain’t tryna be the king of the city. That doesn’t make any sense.”
HipHopCanada: What brought you two together?
Both: Love [Laughing].
Evil Ebenezer: That’s where it all starts is love. Love for the music, love for each other.
Moka Only: Ya we were friends, we were introduced through a mutual friend Stuey Kubrick, who, by the way, produced this album.
Evil Ebenezer: Ya it was easy like that. Stuey was the catalyst. I started goin’ to Mok’s house and we had an idea, and within a couple a weeks we had a good bulk of the album done. It is now just getting finished up, as we record the visuals, and get all the other fun stuff done.
Moka Only: On a side note, this album was recorded quite a few years ago. We wanted to let it age. After reviewing it we thought it might be…
HipHopCanada: Ahead of its time?
Moka Only: Well I dunno bout that. That’s a lil narcissistic to think that, but maybe we were just feelin like we needed the right situation business-wise.
Evil Ebenezer: Ya. I mean that is what it mostly had to do with. Back when we had just finished the album, both of us as artists wanted to show the end result off in the most effective way possible. We wanted to hit the audiences with a bang and show it off to the world. We had to suck it up at that point though and get over it, and wait for the opportunity for it to be put out in the right way, with the right business tip.
HipHopCanada: Moka, I know you like to play around with different instruments, did you experiment with any strange or unusual instruments for this album?
Moka Only: Ya I do like to play, I mean there is some additional instruments, but once again I’m not the beat maker on this album, Stuey and DJ U-tern are. Both are incredibly talented and they got their own experimentations happening with this album.
HipHopCanada: Are you two planning on keeping ZZBRA going or is this a one time type of deal?
Moka Only: We don’t know. We’ll see. I meant the truth is we have done songs since, and I don’t think that’ll ever stop, whether we put a ZZBRA stamp on it or not. It’s all music.
HipHopCanada: Tell me about the name ZZBRA.
Moka Only: We like the animal really. It’s a weird animal, like its part giraffe part slug, like how cool is that? It’s a cool animal man. It slithers around and eats chestnuts man. It’s the best animal I could think of. It wears socks on its head. So. Beat that kinda animal man.
HipHopCanada: Where in the community have you guys found a lot of support?
Evil: Stompdown Killaz hold my back as associates in the business. In the music community we for the most part all got each others backs when it comes to helping out with what we can
Moka Only: It’s the same with Red Dragon, and my associates. They’re really behind it, and supportive of the record too. Blastin’ it and tweetin’ it and whatever. Props to all the peripheral people that hold us down. For sure. But me and Evil first and foremost are concerned with CamoBear Records for the meantime.
HipHopCanada: Do guys feel than that there is a good music community here in Vancity?
Evil: Yes and no.
Moka Only: I havn’t done a lot of shows out here lately just cause the touring schedule is whatever, but I don’t overanalyze. There are some great people here and there are some sucky people here, and it will continue to grow, which is what’s important.
Evil Ebenezer: At the end of the day…It’s home. I’m in the same situation where I’ve been touring all over pretty hard, especially for the last couple of years, and Vancouver isn’t as important to me to have a huge following here.
Moka Only: We aint tryna be the king of the city. That doesn’t make any sense. We are tryna do music for the people all over the globe. The people that like it.
HipHopCanada: Do you two have a favorite city to perform in?
Moka Only: Berlin, and Los Angeles are my two favorite.
Evil Ebenezer: In the last couple of years I would have to say that Montreal has been my favorite, but even small towns and places close to home are dope to perform. Nanaimo and Kamloops are fun.
Moka Only: I did a show in Mission and it was crazy, so. Where there is the most love is where is the best to perform.
Evil Ebenezer: It’s definitely about the energy.
Moka Only: F’real.
HipHopCanada: I can see you two are entertainers at heart after seeing you shoot a bit of this vid. Do you prefer the studio or the stage?
Moka Only: Aw. That’s a hard one.
Evil Ebenezer: You know what? It’s so fun man. Cause I mean more often than not, I have been playing a lot on my own or with Snak I guess too, but for the first how many years of my career I was alone. To have someone like Moka that is kinda like the same type of performer, has the same type of humorous tendencies on stage and as a performer is a real treat for me.
Moka Only: We are real serious on stage. (haha)
Evil Ebenezer: I mean we were rehearsing our dance steps fifteen, sixteen hours last night alone so, I mean we miss a lot a sleep due to our dance regimen.
Moka Only: I been on my own for a long time, so to have a group project is cool. It’s a lot of fun.
HipHopCanada: How many videos do you think you will be putting out for this project?
Evil Ebenezer: Well we have already released one for “Green.” But we are doin a lot. At least ten. And Stuey will be doin em all.
Moka Only: There might be exclusive stuff that won’t be even on the album. There are a few in the works.
Evil Ebenezer: For this year, this is probably going to be the album with the most visuals to go along with in the world. I would almost guarantee it.
Moka Only: It’s gonna be the best project coming out in the world.
Interview by Samantha Cairns for HipHopCanada
Photography by Jamie Sands for HipHopCanada
MOKA ONLY & CHIEF
Crickets Remixes Part 2
Digital Ep out now
To call Moka Only a hard worker would be a serious understatement. Starting with his 1995 debut Upcoast Relix, the former Swollen Member has recorded over 60 albums, including solo efforts, collaborative albums and beat tapes. It all happens in Moka’s cramped Vancouver, BC home studio, where the man born Daniel Denton produces, records and engineers his own albums.
Moka has come a long way since his first recording in ’86, created by dubbing between two tape recorders. After recording off and on in other people’s studios for years, he began building his home studio in 1999 after scoring a publishing deal with EMI. “I’ve been collecting keyboards for the last ten years,” Moka confesses as he runs down his extensive keyboard collection: he has various models from Moog, Sequential Circuits, Korg, Roland and Yamaha ― dating to the analog sound of the mid-’70s ― as well as newer models like the Micro Korg 1 and 2, and a Rhodes ’73 electric piano. Moka also employs modules like the KAOS Oscillator and samplers like the SP-303, the SP-555 and the Korg Triton. The Triton is his mainstay (he’s already worn out three pads) along with the SP-303, which he favours for its distinctively gritty sound. He records everything on the Roland VS-2480 digital workstation. Moka also has an impressive collection of unconventional instrumentation scooped from music stores and pawn shops, including a Theremin, a banjo, and a pink toy piano. The rapper/producer is quick to dismiss any pretence of his musical mastery, admitting that he’s “not so crazy like I can play the flugelhorn in my sleep upside down underwater. I’m just super-obsessed with music, tones and textures.”
Moka is entirely self-taught and prefers to play his instruments live, with the exception of the sampler. “I usually start with the sampler, because I like to establish drums first,” he clarifies. When starting a beat, he usually brainstorms a lyrical idea or theme and works from there. Ideas typically arrive while skateboarding, and Moka dashes home to record the keyboard or guitar figure, possibly even sampling his initial recording to create a beat. He often writes on a keyboard, seeking a main melody and a bridge piece that deviates from the main groove for variation. Rather than waiting for inspiration, Moka quickly decides whether a song will be an instrumental or have lyrics. The average song takes him an hour to record, from making the beat to mixing the vocals.
Moka’s efficiency is even more striking considering his affinity for older technology; he remains an analog soul in a digital age. Moka splits his recording 50/50 between digital and analog processes, even going as far to export his digital recordings to cassette and then export them back to digital; he claims the process “changes the character and tone” of the music. Digital recording certainly makes editing easier; “physical tape splicing with two inch tape, I don’t really miss that,” Moka says with a laugh. Yet Moka values the historical value and sound of tape, and retains the masters for his older catalogue on cassette. He’s even experimenting with recording vocals to eight-track for the dusty, hazy sound it produces.
Though he loves his home studio, the physical space is unimportant, says Moka. He’s certainly aware of the importance of microphone positioning and the like, but as he points out, “You could put me in a log cabin and it’d be essentially the same thing.” Modern technology also helps blur the line between physical and auditory space: “With digital gear and compression, a lot of background noise is buried in the mix so I don’t worry about [space] too much.”
After a little prodding, Moka begrudgingly reveals a few production secrets. He disdains computer-ordained timing, and chooses to keep his drums unquantized, partly inspired by the sound of departed Detroit beatmaker J Dilla. It’s not done to sound intentionally sloppy but rather to preserve the music’s human element. “I make a lot of mistakes but I keep those mistakes, so when I go back and listen to older recordings, I’m always pleasantly surprised,” Moka says.
Even with four releases under his belt this calendar year, the Vancity beatmaker has more he wants to accomplish. “I want to try some heavier punk, thrash stuff. I want to make some real aggressive, horrible-sounding stuff. Or maybe something different like thrash-jazz.”