Purveyors of: Futuristic electro rap
File next to: Dizzee Rascal, Aphex Twin, De La Soul, Edmonton
Playing #WL13 Friday, Feburary 15 @ Black Box Theatre/Great
Hall Downstairs

Cadence Weapon first played Wavelength back when we were at Sneaky Dee’s. He was a smooooth and catchy rapper who thought a great deal about all things. Soundcheck thoughts, where to sit thoughts, what to think about next thoughts. He had wheels in his head continuously turning all the time. During the intervening years he’s been Poet Laureate of Edmonton, twice nominated for the Polaris Music Prize, and currently seems to be hanging out spiritually in Montreal. Cadence Weapon has become a rap instuitionist, weaving together music and sounds into an astute observation woven into a taut package of lines and rhymes. Doc Pickles sought him out to answer some burning questions.

I have to be honest, the last time I saw you live was in 2005 at Wavelength. Since then, a lot of cool things have happened in your life, but the coolest has to be that you were the Poet Laureate of Edmonton. Did they commission poems? Wait for you to offer one? How did your opinion of your hometown change after being a Poet Laureate?

I was asked to write a minimum of three poems a year for two years and I was periodically asked to perform at different city events. It also involved me talking to schools and taking part in other arts initiatives. I’ve always been interested in the history of Edmonton and how it hasn’t been recorded very much in the past. It hasn’t been chronicled as much as New York or Montreal or wherever. When I became Poet Laureate, it was another opportunity to publically explore the history of the city. I wouldn’t say it changed my opinion, but it definitely helped me gain a more intimate knowledge of where I’m from.

Since 2005, you’ve toured the world. What’s the most disappointing thing about touring the world? What’s the most universal constant you notice about moving from place to place?

The most disappointing thing is not getting to actually spend very much time in any one place. You’re usually around for less than 24 hours and most of that time is spent inside a bar. I’ve still had some dope adventures though. The universal constant is people eating shitty food at night. Without fail, people everywhere crave greasy food after they’ve gone to the bar.

What do I need to know about Waterton Lakes National Park?

I went there as a part of the National Parks Project. I made music with Mark Hamilton and Laura Barrett in the wilderness and it was documented and aired by the Discovery Channel. Red rocks like you wouldn’t believe. Buffalo jump. Haunted hotel surrounded by water. Cool zone.

Holy shit, you have Buck 65 on one of your tracks. That’s not really a question. Do you just leave a space in the track for the “Feat.” or do you write his part?

Rich wrote his lyrics, but I came up with the concept. I wrote the music for the track and made that section different to suit the change in character from mine to his.

Your third album sounds like you’ve put a lot of thought into it, but it also feels very relaxed and natural. I can’t put my finger on it, but I think you’ve changed from thinking about how words fit together around what you’re thinking about on Breaking Kayfabe - which seemed very smart and clever, and now you’re thinking a lot about the syncopation of how the sound of words together on Hope in Dirt City which seems to me to be very nimble and muscular. Are you spending your conscious thinking energy on other things?

I love words and their potential. I like to explore different ways of using words to translate ideas. But I also enjoy sculpting music. I’m constantly thinking about music. On Hope In Dirt City, I aimed for an organic sound and I was inspired by other genres of music and their processes for making it.

Do you ever over-think a song? Or is it real life things that get over-thought?

I over-think at the grocery store. I’m always looking for the perfect tomato.