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Copperpot
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I have learned that working with musicians and making music with other people is infinitely more fun and fulfilling than trying to be a one man band, making music is a communal experience and should be shared. ..

          Copperpot, born Daniel Kuypers, has been producing HIp-Hop beats since 2000 when he joined the Phonograph Scientists, a turntable crew consisting of four tablists and Coppperpot on two samplers/drum machines. The crew enjoyed success across the Midwest, but the Chicago-born producer wasn't to fond of the spotlight and left the group in 2003.

But as anyone in the music industry knows, the spotlight is your best friend and although it has grown to be Copperpot's worst enemy, he has trudged through a long running, wildy popular weekly DJ gig in Evanston, IL as well as performed onstage with MC Longshot as the group Coppershot. But if it was up to him, he'd be back at the crib eating tacos.

On his recent release WYLA? Copperpot has moved away from bedroom producer, backpacker-type beats and ventured into the realm of live music, incorporating local musicans to supplement his MPC programming. Dipping into Chicago's seemingly neverending pool of experimental and indie Rock artists has added a spontaneous feel to the album, while straying away from becoming a proggy circle jerk.

Here, Copperpot offers a quick vinyl dime drop, speaks on UK Hip-Hop, the downside to being a one man band, and why making music is infinitely better than making noise...

What's the #1 lesson you took away from performing with the Phonograph Scientists?

It is better to make music than noise.

You're a proud sufferer of stage fright. What would you rather be doing than performing in front of a crowd?

Well, just about anything I suppose, eating some tacos, watching a movie, mixing some songs, making some beats, riding a bike, you name it.

I once saw DJ Premier spin at a Gangstarr concert in a Fat Albert mask, ever thought of rocking a costume / mask when onstage in an MF Doom-style?

Nah, that only draws more attention.

You're one of the few US producers who whole-heartedly embrace the UK Hip-Hop scene, what is it about their style that intrigues you?

When I first heard it, it was fresh, new ideas, new perspective. I am addicted to traveling and absorbing other cultures so it was a natural thing for me to get involved in their hip hop scene when I started spending a significant amount of time there.

WYLA? treads a fine line between live Hip-Hop and straight programmed Hip-Hop. How has incorporating the live element affected your work?

I have learned that working with musicians and making music with other people is infinitely more fun and fulfilling than trying to be a one man band, making music is a communal experience and should be shared. I think I also went from straight beat maker to more of a producer in the traditional sense, like on some Henry Mancini steez.

It seems like starting a live Hip-Hop band is in vogue around Chicago these days, do you see yourself going even further into the live music world on future releases?

I will always work with musicians into the future, as far as comprising a band and performing, fat chance albert.

Last question: At a funeral, would you prefer to be the eulogist or the eulogized?

How about the dude who inherits the dough?


Check out Copperpot at his various homes online: Myspace, Artist Website & EV Records Website.

DJ Shadow
Endtroducing
(Mo Wax) 1996

His production on this record blew me away, it was what I aspired to make my machine do when I got an MPC.


DJ Skitz
Homegrown
(React) 2004

This is the tape that my guy DJ Sapien caught in 1998 at a Jeru show in London. This was my first taste of UK Hip-Hop. It instilled me with a fresh ambition and love of Hip-Hop.


The Cure
Mixed Up
(Elektra) 1990

My favorite record of all time. They did some crazy things with their remixing process.


De La Soul
Stakes is High
(Tommy Boy) 1996

My second favorite album of all time and tops on the Hip-Hop list. I think their composition is second to none in the Hip-Hop age, they took their success with making skits as bridges and made musical bridges on this record. I love these guys.


DJ Quik
Quik is the Name
(Profile) 1991

My favorite producer who can also rap. This was the first CD I ever bought. The second was Chubb Rock'sThe One.


Beastie Boys
License to Ill
(Def Jam) 1986

This is the first tape I ever bought back in 1989. I know I was late but I was only 10 in '89. Anyway, I soon took in 3 Feet High and Rising and People's Instinctive Travels and was hooked.


The D.O.C.
No One Can Do It Better
(Ruthless) 1989

This was the first album I ever saw someone get an asswhoopin' to. I am pretty opposed to violence now, but Dre has always been on some other ish with his beats.


Lewis Parker
Masquerades & Silhouettes
(Melankolic) 1998

This album helped shape my interest in being producer, it is possibly one of the best produced Hip-Hop albums I have ever heard.


Roots Manuva
Brand New Second Hand
(Big Dada) 1999

This is another British record that helped shape my producer aspirations, the production and flow of the record are amazing.


Every Percy Faith, Tijuana Brass, Henry Mancini, Burt Bacharach, Harry Conniff singers, etc… I realized through buying records with pretty girls on the covers that you can step outside the accepted and traveled realm of sampling and draw from music other than Soul, Jazz, and Funk. I basically developed my style because initially I was horny and liked pretty girls.


--DJ TREW

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