Skyscraper Stereo

Homebois in Outer Space, the latest release from Skyscraper Stereo, was both conceived and birthed among the sidewalks and streets of Louisville, KY; a sleepy mid-west metropolis with a rich history of indie-music from iconic artists like Slint, Endpoint, and Will Oldham. It was there, among those same streets and sidewalks, that Skyscraper Stereo formed six years ago through a simple collaboration between Jawon “Chuck Deuce” Dunn and Daniel “Goodbar” Guess. It didn’t take long for their work to spark the interest of Jawon’s brother Landry “Dat Boi” Dunn; who after hearing what their sessions produced became eager to enter the fold. It was quick and painless, but that easily the core line-up of Skyscraper Stereo had completed itself; and they’ve been working diligently making their own contribution to the scene that has incubated them ever since. The last piece of the Skyscraper puzzle finally came in 2012, when they brought mix maestro, and New Era D.J. alum, Andrew Kim joined the guys. He had been touring with the group, in support of Homebois in Outer Space, for a while when they finally offered him a permanent slot behind the turntable. “We've always just clicked,” Guess says. “All (of the) members individually have very different styles and influences, but once the three forces combine, they come together seamlessly.” Just like the myriad of influences that cohesively swirls through everything the group does, without feeling like some aimless mélange sounds. When held down, the guys will site their influences to be as broad as Jimi Hendrix to Notorious B.I.G. to Kriss Kross – all of which they mean with the utmost sincerity and not even the slightest hint of irony. The classic rock influence exerts itself most when it comes to Skyscraper Stereo’s electrifying live performances, which have become legendary around Louisville. They’re explosive, without the caustic clutter that often weighs down the performances of many other hip-hop groups. “When we started we sat down and I said, 'we should market ourselves like a rock group.'” Jawon told The LEO Weekly in 2011. “In the respect of…rock bands play and play and play until you can't ignore them anymore. Rappers are more akin to just trying to get something on the radio, kicking back and hoping that works. Not us.” It’s from those live performances that the group developed a confidence that grabs your attention from the outset on Homebois in Outer Space. But their lyrics aren’t just swagger and posturing, it's poetry. That’s not to draw any pretentious comparisons to the work of Angelou or Keats; but rather acknowledging their irreverent wit that speaks to a deeper social consciousness, in a way which brings to mind overlooked masters of the craft like Shel Silverstein or Dr. Seuss. There is this subtle intelligence which permeates the music without anchoring the songs to some inflated sense of self importance. It’s a fine line well walked, and it endears the album to the even harshest of critics within seconds pushing ‘play’ for the very first time. Five years of hard work and perseverance led to the release of Homebois in Outer Space, last year. The critically acclaimed masterpiece was hailed an instant classic in the underground hip-hop scene, and has garnered a groundswell of anticipation demanding more from the boys. But with little time to look backward, Skyscraper Stereo have their eyes fixed on the horizon; and with one masterpiece under their belt, another one can’t be far behind. The best in Local Hip Hop since 2006!