DP THoT (Dennis Pollina) is a Milford, Connecticut-based hip-hop artist that I recently had the pleasure of chatting with about his new tracks, which push his music into an even more sonically diverse, infectious realm. Check out his Facebook page, as well. Below is our complete interview:

Ryan Sartor: How did you come up with the idea for “Cash & Burn?” 

DP THoT: The track, ‘Cash & Burn,’ was really a big turning point for me. I made the hard decision of leaving my previous musical group, to work with some up and coming artists from the Las Vegas area. The bands break up was not the easiest, and this track makes reference to those ties that were severed.

RS: A line from the chorus “I wish I could run away to say the least/As the walls come crashing down,” is that a reference to leaving your previous group?

DT: Yeah, a lot of work went into all the music we produced together, three full-length albums worth. And due to copyright issues, I still am unable to promote that music as my own. Lessons learned, I guess.

RS: I hate the term ‘socially-conscious,’ but a lot of your lyrics deal in terms that most hip-hop tends to shy away from. The lyric “The stars up above is where my eyes rest” is a pretty un-common hip-hop line. Does that refer to spirituality, alien life form, or just a metaphor for ambition?

DT: Actually, my intention was all three. Any good writer understands that through your words, meanings are derived. And although you yourself channel a specific meaning in your work, when conveyed to an audience, there is a personal interpretation being made by each individual member of that audience. My words establish my own meaning, but I find it really enticing to develop ideas, such as the one mentioned, that can be interpreted on a personal level by the audience. It drives me to intrigue the listener.

RS: Ganzobean produced this track, right? How does your collaboration work with him?

DT: Generally, when working with Ganzo (Morgan Willenbring), we will collab on an idea. Rather than, you know, jamming out or doing the conventional musical collab, I will send him some lyrics or prose I have developed with his musical ability in mind. It’s much different than any I’ve ever done before, though, strictly emcee and producer. A nice change of pace, usually I have to perform all accompaniments for a track. It really allows me to focus on my words and how I convey them.

RS: Are there any plans to put ‘White Sheep’ or the other 2 full-length DP THoT albums onto your Band Camp page? Or will we have to go digging for them in a few years, Drake-style?

DT: I expect the latter, but don’t worry, NEW music is on the way!

RS: Will this be new DP THoT or FUTURAX your project with Ganzobean? Also, what are the differences between a DP THoT track and a FUTURAX one?

DT: Later in the week, I will actually be releasing a self produced EP, but as well as some upcoming FUTURAX songs in the following weeks. DT is my stage name, which I use to represent myself in any group setting as well, such as FUTURAX. The concept of FUTURAX deals with myself and Ganzo tackling the mainstream, with a futuristic approach layered with an 80’s feel and injecting relevant, dance-able lyrics.

RS: You’ve used a lot of video game samples in the past. What have been some of your favorites, which ones have you not been able to crack, and what is the appeal for you?

DT: Yeah, video games, as well as Star Wars and cartoons, hold a dear place in my heart.  Its what I grew up with, and I believe alot of my generation feels the same.  When people hear an obscure sample, from lets say, Legend of Zelda: Ocarina of Time, it taps into their deeply stored memories, and brings back that youthful feeling.  They have to search themselves to find where they remember that tune from, taking them back to a time when things were simpler.  So my intention, right off the bat, is to hook you.  I don’t necessarily speak about the games in my verse, but it adds a whole different layer to the songs intentions.  I feel discussing video games in my writing would confine me to a specific genre, so I shy away from lyrics about my obsessions of old. As far as cheesy video game rips go, however, I would love to release a small EP one day using only samples from the classic, Super Mario Bros. franchise.

RS: In an episode of the New York Times Popcast from earlier this summer (http://artsbeat.blogs.nytimes.com/2011/05/12/popcast-brad-paisley-proudly-preaches-to-the-choir/), music critic Jon Caramanica profiled the recent group of white rappers. One thing he mentioned in his piece is that the white rappers do not draw attention their “whiteness.” I’ve heard you on previous projects and you’ve worked with black rappers as well as white rappers. It seems like more of an issue for listeners than the actual artists making the music. Are you actively aware of your perceived “outsider” status in the hip-hop world at large and how do you deal with that?

DP: My second album, “The White Sheep Movement,” actually covered a great deal with this concept.  My ideals as a lyricist, musician, and ”hip hopper” have to do with the fact that it is genre primarily dominated by black rappers.  My play on words here assumes I am a ”White Sheep,” suggesting I, being white, am considered the black sheep of the hip hop community.  White Sheep.  It’s the term I’ve dubbed for all white rappers attempting to identify themselves within their craft.  It gets complicated, though.  There are those “white rappers” who get lost within the music business and try to appeal to different demographics and lifestyles, that’s fine.  I know who I am and where I come from, and through my music, I try to paint a picture of hope for tomorrow. Throughout all genres of music, minus race, religion, gender, etc., when it comes down to it, it is the music that people hear.  It is definitely an alternative approach to hip-hop, but it is the road I have taken.  Labels will always be there, and they will try to pin one on you.  But in the end it doesn’t matter, good music is just that, good music.

RS:  What hip-hop artists have influenced the music you make?

DP: As far as influential artist go, I grew up on classic rock, Led Zeppelin, Pink Floyd, The Beatles, etc., but the most influential artists to me are Aphex Twin and The Mars Volta.  Aphex Twin is the reason I went to school for electronic music and The Mars Volta gave me the faith I needed that you can still have intelligent, highly knowledgeable lyrics and that people will appreciate them.  When I made the decision to begin a career in this genre I did my homework, and studied all the originators and main names of the hip hop movement.  Afrika Bambaataa, Tribe Called Quest, Wu-Tang, Atmosphere, I mean there are hundreds of artists I absorbed and appreciate.  But I really, truly attempt to create my OWN voice, and when I am developing albums and music, I really attempt to shut myself off from all inspiration, and create what I myself intend to inspire.

RS: Through your lyrics, I notice a great deal of influences that are not related to hip-hop—or even music at all. Who and what are some of the other artists that influence you and how do you implement a non-musical spark and turn it into a beat and/or a rhyme?

DT: I tap into very often the great classic works of old.  I am well versed in Greek mythology, and even studied The Divine Comedy for a semester at college. Poe, Kurt Vonnegut jr., Shakespeare, Alexandre Dumas, Alex Garland, Christopher Nolan, Alan Moore, to name a few.  I really like to draw on the old and intertwine history with modern day events.  It is a challenge, and I hope the works I very often cite become an item of interest to my listeners and spur their advancements in knowledge.

RS: I saw your show at The Space a while back, and it was amazing. You have a real presence live and really execute your work. I feel like a lot of hip-hop artists have 5 hype guys and put on really sloppy live shows. What will your ideal live set-up for shows you put on with Ganzobean?

DT: I really try to steer away from the mainstream assumption that all you need is a DJ and a rapper.  That’s just boring and always sounds like something’s missing.  Sure, it is functional to just push play and have a “hype guy” beside you emphasizing your words, but hip hop can be so much more than that.  I am a classically trained trumpet player, and studied music while at college, so I know the value of a strong ensemble.  You don’t need a full orchestra, I am just suggesting that with a full compliment, like The Roots, one could attain a more desirable and favorable sound, rather than just the noise being pumped out of your laptop, mic and turntables.  Its about your settings too, if I’m going to battle someone in a freestyle competition, then drop me a beat and have the DJ start cutting.  But if I want to captivate my audience and perform an interesting, well planned live show, then give me a bass guitar, drummer, DJ, some keys, and I can show you how great live hip hop can really sound!