1. Čo práve robíš a čo ťa najviac zaujíma v týchto dňoch ?
Čau! Tieto dni dokončujem tretiu skladbu z pripravovaného splitu Sniffah. Split bude hudobne trochu inde než doterajšia tvorba, nechajme sa prekvapiť, s kým split bude a čo to bude zač!
2. Vydal si nedávno kazetu Zimny na svojom labeli Calvos73. Aký ohlas si doteraz zaznamenal a kam sa album dostal vo svete?
Ohlasy sú super, zo 111 kusového nákladu ostava menej než 30 kusov. Zatiaľ som posielal kazety primárne do Česka a na Slovensko, ale poslal som pár ks napr. do Belgicka, Španielska, Nemecka či Japonska.
3. Na albume je sedem skladieb, z toho tri sú kolaborácie. Čo boli námety na skladby a ako súvisia názvy s hudbou?
Pri mojej tvorbe začínam najskôr hudbou/inštrumentálom, ktorú tvorím “od nuly” čisto z drum machines a syntetizátorov. Podľa nálady skladby potom vyberám a strihám vhodný acapella sampel (izolovaná rapová stopa), prípadne oslovujem reperov, ktorí by sa do danej nálady skladby hodili. Je to zaujímavý proces, keďže niekedy sa snažím trafiť acapella sampel aj harmonicky, ak má reper na pôvodnej nahrávke trochu spevavejší prejav.
Pôvodné skladby s pôvodným inštrumentálom znejú vlastne úplne inak, takže týmto starým, často úplne undergroundovým repom dávam cez moje tracky nový život. Názvy súvisia s nejakou spomienkou, obdobím alebo referujú na niečo, čo si chcem z nejakého dôvodu zvečniť vo forme skladby. Niekedy sú to referencie na filmy (Flesh & Blood), na pár kazetách mám referencie na japonskú Playstation franšízu Dark Souls (Shiny, Blood Stain, Primordial Serpent Kaath).
4. Kto sú interpreti z kolaborácií a prečo si si ich vybral na spoluprácu?
V prípade troch skladieb, kde mam “živých” reperov som poslal beat najskôr Dismembermentovi z Viedne, ktorý sa hneď chytil a poslal mi do 2 dní rapovú stopu. S Timurom (Dismemberment) sa poznám cez Dj Sacreda (ukrajinský producent a zakladateľ žánru Dungeon Rap, ktorého sme aj bookovali v apríli 2025 na našej akcii Dungeon Rap Vol. 1 vo Fuge). Dismemberment je taktiež producent a aj reper, člen labelu Temple Drive, ktorý založil práve spomínaný Dj Sacred. Názov sme spoločne vybrali “6 Feet Deep”, keďže tam toto slovné spojenie použije.
Podobne to funguje aj pro iných skladbách, ako napr. v treku “Jarre De Pickles”, kde francúz Pierre (BUFFETxxFROID) taktiež v texte použie toto slovné spojenie. Pierrovi, ktorý je vo Francúzsku pomerne aktívny reper a s ktorým sa poznám skrz jeho pôsobenie v grindcorových kapelách, som taktiež poslal beat, ktorý by sa mu mohol páčiť a vznikol z toho podľa mna velmi silný introspektívny trek s melancholickou atmosférou. Phellup je zas mladý šikovný chalan z Bratislavy, ktorý v minulosti skúšal repovať, toto bola jeho premiéra, čo sa týka nahrávania.
5. Celý album je ladený do zimných, pochmúrnych farieb. Je to referencia na nejaký temný žáner alebo obdobie, alebo si mal jednoducho dlhú zimu?
Zimu mám rád čiže nikdy mi nie je dlhá a áno, ako aj naznačuje názov kazety, chcel som spraviť proste “zimný” album, ktorý sa viac bude opierať o subžáner Dungeon rap a bude využívať dungeon synth postupy, trochu ambientu, black metalový vizuál a zimnú náladu.
6. Sniffah hrá hudbu ovplyvnenú memphiským rapom 90. rokov (90MR). Ako a kedy si sa k nemu dostal a čím si ťa získal?
Cestu k memphis rapu by som prirovnal k tomu, keď si metalista a rokmi sa postupne dostávaš k extrémnejším a undergroundovejším žánrom alebo interpretom. Povedal by som, že to, čo je memphis rap pre hip hop ako taký, je niečo ako war metal pre metal. Rap som počúval snáď aj skôr než metal a keď som počúval roky boombap resp. east/west coast rap, netušil som, že existuje obrovská scéna z juhu USA, resp. konkrétne z Memphisu.
Dostal som sa k nemu cez jednu kamošku cca pred 10 rokmi a cesta k nemu nebola vôbec jednoduchá. V tom období resp. pár rokov pred tým som odhodil predsudky a začal aktívne počúvať moderný rap (trap), ktorý práve veľmi čerpá z južanskej scény 90. rokov. Nejak takto som sa postupne dostal k interpretom ako Dj Spanish Fly, Tripple Six Mafia alebo Tommy Wright III. Získal si ma surovosťou a autenticitou a tým, že je to niečo totálne unikátne a pre mňa dovtedy nepoznané. Odvtedy som študoval všetky blogspoty a kanály, ktoré sa tomuto malému žánru venovali a hltal som kazetové ripy, ktoré sa vďaka internetu a pár zberateľom dajú v dnešnej dobe pomerne ľahko dohľadať a vypočuť na youtube. Po dlhej dobe som mal podobné nadšenie ako 14-15 ročný fagan, čo objavuje prvý krát grindcore a crust potom čo poznal iba Cannibal Corpse alebo Vader.
7. Ako by si charakterizoval 90MR a v čom je stále aktuálny pre dnešnú dobu?
Memphis rap je zaujímavý tým, že vznikal trochu izolovane od populárneho boombapu na východe a západe USA, nikto z mainstreamu vtedy nevenoval pozornosť južanskej scéne, kedže bola proste iná, zvukovo nedokonalá a možno príliš temná a čudná. Vtedy väčšina interpretov na západe a východe USA používala samplere a samplovali sa jazzová alebo funkové nahrávky. Toto na juhu USA až tak nefungovalo (až na výnimky), zrejme z dôvodu nedostupnosti (a vysokých cien) samplerov a skôr sa tento štýl repu robil na drum mašinách, ktoré primárne slúžili na robenie tanečnej elektronickej muziky.
Máloktorá memphis rap nahrávka využíva klasický samplovaný breakbeat. Taktiež ďalšie zvuky ako napríklad basa alebo synth melódia sa robila bez samplovania, ale hrala sa na ako melódia na konkrétnom synťáku. Čo je zaujímavé, občas sa do starých memphis nahrávkok inkorporovali melódie z hororových filmov, keďže to bol popúlarny filmový žáner v domácnostiach na VHS kazetách. Aktuálny je v určite v originálnom prepojení hororovej tematiky a nefiltrovanej výpovedi o kriminálnej násilnej realite daného obdobia a regiónu.
8. Kto boli hlavní interpreti 90MR a čím sa preslávili?
Je ich samozrejme kopec ale najzásadnejší populizátori memphis rapu sú určite Three 6 Mafia, konkrétne Juicy J a Dj Paul, ktorí majú na svedomí x mixtejpov a produkcií pre lokálnych reperov ešte pred oficiálnymi nahrávkami Three 6 Mafia. Ďalej sú to určite mená ako Dj Zirk, Dj Squeeky, Tommy Wright III., Gangsta Pat alebo Kingpin Skinny Pimp. Nedá sa úplne povedať, že by sa títo interpreti v danej dobe úplne preslávili v USA alebo svete tak ako interpreti z New Yorku alebo Californie.
Jedni z mála komerčne úspešných interpretov boli na konci 90. rokov Three 6 Mafia, ktorí sa postupne dostali do rádií a dokonca vyhrali Oscara za jednu skladbu k filmu (to bolo ale myslím už po roku 2000). Memphis rap sa v populárnej kultúre začal vynárať až nedávno a skôr dodatočne ho ľudia doceňujú, myslím si, že za to môže popularita trapu a odkazovanie na týchto starých interpretov z juhu USA.
9. Žije táto scéna stále v Memphise, alebo už skôr len prostredníctvom projektov ako Sniffah po celom svete?
Nemyslím si, že v súčasnosti v Memphise fungujú interpreti, ktorí sa snažia robiť rap tak ako sa robil 90MS v 90. rokoch. Čo viem, tak vďala spomínanému znovuobjaveniu tohoto žánru teraz vystupujú interpreti ako Tommy Wright III., ale je to stále skôr ungerground scéna a dokonca je tam prepojenie s DIY hc/punk scénou a niektorí títo interpreti vystupujú spolu s power violence kapelami a podobne.
Internet tomuto zabudnutému žánru určite pomohol a posledné roky sa to znovuobjavuje, ale je to stále taký “niche” žáner a kultúrny fenomén. Samozrejme v nejakej forme sa odkazuje na Memphis rap aj vo veľmi populárnom subžánre rapu s názvom Phonk alebo práve v tejto “Dungeon rap” scéne, ktorú spopularizoval Dj Sacred. Ďalší súčasní interpreti, ktorí vychádzajú z 90MS sú ľudia okolo labelu Doomshop Records, ktorí sú myslím z Texasu. Tam spomeniem mená ako Dj Akoza, MC Holocaust alebo Freddie Dredd. Stále to ale vnímam ako ungerground, myslím, že u nás týchto interpretov pozná pramálo ľudí. Prípadne spomeniem kolektív Raider Klan a reperku Amber London. Zvláštny fakt - phonk a memphis rap sú veľmi populárne žánre v Rusku a na Ukrajine.
10. Aké dnešné žánre vychádzajú z 90MR a podarilo sa niektorým preraziť aj mimo undergroundu?
Ako spomínam vyššie, trap vychádza z memphis rapu a z atlantskej scény, taktiež spomínaný phonk, ktorý je typický temnou atmosférou, silnou basou, memphis rap acapellami a používaním cowbellov, typických pre memphis rap. Napríklad ruský interpret Kaito Shoma a jeho skladba Scary Garry bola pred pár rokmi najstreamovanejšia skladba na svete na niektorých platformách, čo je trochu nečakaný fakt. Ďalej napríklad Beyonce použila starú memphis rap acapella stopu na jej nedávnom albume Renaissance.
11. 90MR stál na špecifickom geari, beatoch a sounde. Čo používali priekopníci žánru a čo z toho používaš ty?
Keď som si robil prieskum, čo používal napríklad Dj Paul, boli to napríklad drum machine Boss Dr-660 alebo synťák Roland W-30. Niektorí robili aj na klasických Roland TR-808, ktorý sa skôr používal v tanečnej muzike resp. techne.
Ja robím projekt Sniffah na konkrétne tomto geare: Novation Circuit, ktorý používam primárne na beaty a mám v ňom nahraté zvuky aj zo spomínaného Boss Dr-660, zároveň sa nejdem limitovať čisto týmito zvukmi ale používam také, ktoré sa mi do mojej tvorby hodia. Ďalej používam skvelý basový syntetizátor Novation Bass Station 2 a syntetizačný modul Waldorf Blofeld, ktorý sekvencujem veľmi dobrou mašinou Elektron Digitakt, na ktorej by sa v podstate dala robiť celá muzika. Digitakt je taký mozog celej zostavy, tzv. “master”, ktorý ovláda ostatný gear. Nemám teda žiadnu originálnu starú mašinu, ktorú by používali spomínaní interpreti, ale používam niektoré zvuky bicích z daných drum machines. Zároveň nechcem aby to znelo rovnako ako väčšina súčasných interpretov, ktorí si nakúpia “Memphis rap sample pack” a tie nahrávky sa potom jedna na druhú zvukovo až príliš podobajú.
12. Peter Beste ako prvý prepojil 90s nórsky black metal s US rapovou scénou cez fotodokumentáciu oboch scén. Kým publikáciu o black metale mám doma, k tej rapovej som sa nedostal. Fotil Peter Beste aj 90MR scénu?
Besteho poznám iba skrz fotky nórskych black metalistov, ale pozerám, že dokumentoval práve Houston rap scénu, čo je tiež zaujímavé. Houston je tiež súčasť opomínanej južanskej rapovej scény a s memphis rapom má isté prepojenie a tieto scény sa navzájom určite ovplyvňovali. Najväščí vplyv z Houstonu mali minmálne interpreti ako Geto Boys, Dj Screw (ktorý vymyslel subžáner chopped & screwed a spopularizoval pitie kodeínového nápoju Lean, čo mu bolo zrejme aj osudové, RIP) alebo z modernejších interpretov napríklad Paul Wall, ktorý zas v 2000-cich rokoch spopularizoval nosenie tzv. grillz (povedzme zubné šperky) a je extrémne uznávaný vrámci južanského rapu, napriek tomu, že je beloch.
13. Čo majú podľa teba spoločné (black) metal a (90MR) rap?
Myslím, že túto “pikošku” som ti spomínal v Žalári a je to z úst istého youtubera, ktorý veľmi pekne ukázal paralely s nórskym black metalom resp. black metalom ako takým. Tuším tie spločné znaky boli: zlý zvuk (málokedy sa nahrávania chopili profesionálne štúdia, vela krát sa nahrávalo svojpomocne, podľa toho, aká technika bola k dispozícií), distribúcia nahrávok na kazetách (väčšina memphis rapu sa kopírovala svojpomocne na kazetách, čo sa podpisovalo aj na zvuku, keďže veľké labele nemali záujem o tento “divný” rapu) a posledná paralela boli satanistické/hororové témy, ktoré boli pre memphis rap typické. Myslím, že memphis rap bol dokonca prvý subžáner repu, ktorý takto koketoval s diabolskou tematikou a nadhadzoval takúto temnú nadprirodzenú tematiku spojenú s pouličnou kriminalitou.
14. Nórsky black metal sa zviditeľnil aj kriminálnymi činmi a vandalizmom namiereným proti cirkvi, dovtedy v rockovej kultúre nevídaným. Mali rapperi podobné „úlety“ - nemyslím klasické gangsterské prestrelky, ale skôr vedomé presahy proti inštitúciám alebo nejakej časti spoločnosti?
To spomínané prepojenie so satanskou tematikou v memphis rap textoch bolo podľa mňa skôr nejaké vyrovnávanie sa s temnou realitou a vytváranie nejakej atmosféry a príbehu, nemyslím si, že by sa tam diali nejaké vraždy zafarbené okultizmom, aj keď existuje pre mňa úplne fascinujúca konšpirácia resp. urbánna leganda nazývaná “8 Sigils Of Memphis Rap”, čo je v skratke teória, že existuje 8 konkrétnych nahrávok (ten zoznam albumov je dohľadateľný), pri vzniku ktorých boli zavraždení ľudia a tento čin je nejak vpečatený do danej nahrávky, vrámci nejakého satanského rituálu. Táto fáma potom pokračuje tak, že ak si poslucháč vypočuje tieto nahrávky z kazety v konkrétny čas na cintoríne, môže vrámci nejakej okultnej mágie dosahovať také a onaké ciele a meniť realitu vo svoj prospech. Celkom zaujímavá urban legenda, možno vymyslená nejakým predajcom na Discogs na podporu predaja originál kaziet za 200$ za kus hehe.
15. Ako sa táto scéna dostala do Európy a na Slovensko?
Určite vďaka internetu, no na Slovensko sa podľa mňa až na pár stovák ľudí veľmi nedostala. Sociálne siete a trending audiá na Tik Toku tomu určite pomáhajú, ale myslím, že tých skalných fanušíkov memphis rapu je tu pramálo. Čo je zaujímavé, tak poznám x ľudí zo sveta z grindcore/power violence scény, ktorí počúvajú veľa memphis rapu.
16. Kto sú dnešní hlavní predstavitelia žánru a aké sú medzi nimi vzťahy - dá sa hovoriť o scéne, alebo je to skôr individuálna záležitosť?
Ako spomínam vyššie, existuje v USA scéna okolo phonku alebo undergroundového rapu, ktorý vychádza z 90MS, ako napr. spomínaní Dj Akoza, Freddie Dredd, Dj Bucketz alebo Baker. Taktiež na spomínanej Ukrajine a v Rusku funguje celkom veľký kolektív ľudí, ktorí robia či už phonk, memphis rap alebo dungeon rap, najzvučnejšie mená sú Dj Sacred (aj pod pseudonymami Dj Armok alebo Pillbox), Dj Bishop alebo Lord Crucifix.
Ak sa bavíme čisto o žánre memphis rap, nemyslím si, že reálne existuje nejaká scéna, skôr ide o interpretov z 90. rokov, ktorí sú bookovaní z nejakej nostalgie a znovuobjavenej popularity (Tommy Wright III. mal minulý rok asi 3 európske zastávky). V našich končinách sa tieto akcie nerobia takmer vôbec, najbližšie k žánru phonk/memphis rap má možno slovenský RNZ, Žakhéles alebo český Redzed, nenazval by som to ale memphis rapom, aj keď naň títo interpreti nejak odkazujú. Taktiež čo viem tak slovenský reper Karlo je veľkým fanúšikom memphis rapu.
17. Na akých akciách v našom okolí sa dnes človek môže dostať k tejto alebo príbuznej hudobnej produkcii?
Neviem o tom, že by niekto robil na Slovensku akcie tohoto typu, sledujem akcie celkom aktívne a neskromne poviem, že minimálne v Bratislave hrám memphis rap ja alebo Dj Inso. Vo Fuge sme s Insom zvykli hrávať na akciách Gafa, kde som hrával primárne memphis rap. Taktiež s Insom robíme akcie Dungeon Rap, kde vystupovali intepreti spojení so žánrami Dungeon rap a memphis rap, konkétne ja ako Sniffah, Dürt808 (Dj Huga Toxxxa, memphis rap fanatik a skvelý selektor), Dismemberment, Mladey alebo Dj Sacred z Ukrajiny, ktorý asi najviac spopularizoval memphis rap nielen v Európe ale aj vo svete za posledných 10 rokov.
18. Na obaloch predchádzajúcich dvoch albumov Segundas Grietas (2024) a Solstice (2025) máš jazdcov na koňoch. Čo tieto motívy znázorňujú a dá sa ku kazetám ešte dostať?
Obal Segundas Grietas zdobí fotka Princa Bajaju, čo bola moja obľúbená rozprávka v detstve a vždy ma fascinovala scéna, keď Bajajovi jeho čarovný kôň dal truhlu plnú vyblišťaného zlatého brnenia (riadny “drip”). Nemá to znázorňovať alebo predstavovať nič hlboké, je to iba taká materializovaná spomienka na 50 x vyjazdenú VHS kazetu mojej obľúbenej rozprávky, ktorú som si púšťal u starých rodičov.
Samozrejme má to odkazovať na fantasy/sword & sorcery stránku žánru Dungeon rap. Pri obale Solstice som náhodou narazil na facebooku na super fotku na kamoškinom profile (pozdravujem Kedrovku), ktorá takto odfotila svoju dcéru na koni a hodilo sa mi to do konceptu letnej kazety Solstice, ktorá obsahuje veselšie a aj tanečnejšie skladby, ako aj remixy skladieb z predošlej kazety s Bajajom na koni (preto tá kontinuita postáv na koni). Kazety sú u mňa a na labeli vypredané, no kazetu Solstice ešte možno nájdete v distre Sky Burial/Nomad Sky Diaries u Waldemara.
(príloha fotka kaziet)
19. Čo plánuje Sniffah na rok 2026 a uvidíme ťa niekde naživo?
Ako spomínam na začiatku tohoto rozhovoru, robím na splite, ktorý by mal vyjsť ako LP platňa a kazeta. Vzápätí sa púšťam do ďalšieho dohodnutého splitu, tiež žánrovo trochu nečakaného, nechajme sa tiež prekvapiť, s kým to bude. Dám iba taký hint, že daný interpret vyšiel na Jablká Ďaleko Od Stromu.
Mám tiež rozrobenú kolaboráciu s jedným človekom, ktorá bude takmer čisto tanečná hudba, povedzme až housová hudba, bude to jeden až dva single, ktoré chceme vydať v online podobe ešte v lete. Potom chcem pokračovať vo svojej tvorbe a spraviť tanečnejší album, ktorý bude ale verný memphis rap koreňom, no a následne verím, že spravím tzv. “devilish shit” album, ktorý sa bude čo najviac opierať o žáner memphis rap a jeho esenciu, taký návrat k mojej prvej kazete Rajas Primeras Vol 1. To je možno ale plán až na rok 2027, uvidíme ako rýchlo budem schopný produkovať nové veci. Naživo budem hrať asi niekedy v lete v Bratislave, ináč nemám booknuté okrem Dj setov nič (kľudne sa ozývajte, ak chcete live set show).
20. Čo v týchto dňoch počúvaš, pozeráš a čítaš?
Zbláznil som sa z troch nahrávok, ktoré točím dokola a sú to aj tri úplne odlišné žánre. Skvelý zábavný heavy metal/egg punk so strašne dobrým song-writingom - Steröid z Austrálie s albumom Chainmail Commandos (pozdravujem Tonka z Radiation), švédsky cloud rap/trap Bladee s albumom Cold Visions (pozdravujem Seerusa z Otrasu) a namakaný americký grindcore Fake Dust s albumom Decrepitizing Din Of The Cerebral Psyopticon (po dlhej dobe grindcore nahrávka, ktorá mi totálne odpálila dekel a počúvam ju tak tri krát za deň).
Dnes som si pozrel po cca 15 rokoch film Gummo od Harmony Korina a páčil sa mi ešte viac ako po prvý krát, ináč sa snažím dopozerať seriál Penguin s Collinom Farrellom, no ide mi to pomaly, napriek dobrým recenziám od kamošov. Začal som konečne konzistentne čítať japonskú mangu Berserk, z čoho mám radosť, lebo seriál z 1997 je pre mňa jedna z najlepších vecí vôbec.
21. Je niekto, s kým by si si rád prečítal rozhovor na JDØS?
Zdalo by sa, že si snáď už urobil rozhovor so všetkými ľudmi motajúcimi sa okolo extrémnych žánrov alebo undergroundu, ale prečítal by som si napríklad rozhovory s Mišom Lichým (Urban Failure, Urbsounds label, Správny Smer), noiserom Marošom Kovaľom (Noitt, Krajné Čierno) alebo Peťom Kerekešom (Hlukár, Krajné Čierno).
22. Motto alebo odkaz na záver.
Motto nemám, ďakujem ti za rozhovor a super otázky! Kazety Sniffah - Zimny ako aj merch k poslednej kazete (tričká a mikiny) kúpite cez bandcamp Sniffah, resp. tak, že napíšete na instragram Sniffah alebo Calvos 73 Records.
1. What are you doing right now, and what interests you the most these days?
Hi! These days I'm finishing the third track for an upcoming Sniffah split release. Musically, the split will be a bit different from my previous work, so let's wait and see who the split will be with and what exactly it will turn out to be!
2. You recently released the cassette Zimny on your Calvos73 label. What kind of response have you received so far, and where has the album reached around the world?
The response has been great. Out of the edition of 111 copies, fewer than 30 are left. So far I've been sending cassettes mainly to the Czech Republic and Slovakia, but I've also shipped a few copies to places like Belgium, Spain, Germany, and Japan.
3. The album contains seven tracks, three of which are collaborations. What inspired the songs, and how do the titles relate to the music?
When creating my music, I always start with the music/instrumental itself, which I build from scratch using only drum machines and synthesizers. Depending on the mood of the track, I then select and edit a suitable acapella sample (an isolated rap vocal track), or I reach out to rappers whose style would fit the atmosphere of the song. It's an interesting process because sometimes I even try to match the acapella harmonically, especially when the rapper's original performance has a more melodic delivery.
The original songs that these instrumentals come from actually sound completely different, so through my tracks I'm giving these old, often deeply underground rap recordings a new life. The titles are connected to memories, specific periods of my life, or references to things I want to immortalize in the form of a song. Sometimes they're references to films (Flesh & Blood), while on several releases I've referenced the Japanese PlayStation franchise Dark Souls (Shiny, Blood Stain, Primordial Serpent Kaath).
4. Who are the artists featured on the collaborations, and why did you choose to work with them?
For the three tracks featuring live rappers, I first sent a beat to Dismemberment from Vienna. He immediately got into it and sent me a vocal track within two days. I know Timur (Dismemberment) through DJ Sacred, a Ukrainian producer and founder of the Dungeon Rap genre, whom we also booked for our event Dungeon Rap Vol. 1 at Fuga in April 2025. Dismemberment is both a producer and rapper and a member of Temple Drive, the label founded by DJ Sacred. We chose the title 6 Feet Deep together because he uses that phrase in the lyrics.
The process was similar for the other collaborations. For example, on the track Jarre De Pickles, the French rapper Pierre (BUFFETxxFROID) also uses that phrase in his lyrics. Pierre is a fairly active rapper in France, and I know him through his involvement in grindcore bands. I sent him a beat that I thought he would enjoy, and the result was, in my opinion, a very strong introspective track with a melancholic atmosphere.
Phellup, on the other hand, is a talented young guy from Bratislava who had experimented with rapping before, but this was his first experience recording a track.
5. The entire album is steeped in wintry, gloomy colors. Is that a reference to a particular dark genre or period, or did you simply have a long winter?
I like winter, so it never feels too long to me. And yes, as the cassette title suggests, I wanted to create a genuinely "wintery" album. I wanted it to lean more heavily into the Dungeon Rap subgenre and incorporate dungeon synth elements, a bit of ambient music, black metal-inspired visuals, and an overall winter atmosphere.
6. Sniffah plays music influenced by 1990s Memphis rap (90MR). How and when did you discover it, and what drew you to it?
I would compare my journey into Memphis rap to the way a metalhead gradually discovers more extreme and underground genres over the years. I'd say that Memphis rap's relationship to hip-hop is somewhat similar to war metal's relationship to metal.
I was probably listening to rap even before I got into metal. For years I listened to boom bap and East Coast/West Coast rap without realizing that there was this massive scene in the southern United States—specifically in Memphis.
I discovered it through a friend around ten years ago, and getting into it wasn't easy at all. Around that time, or a few years earlier, I had abandoned my prejudices and started actively listening to modern rap (trap), which draws heavily from the Southern rap scene of the 1990s. Through that path I gradually discovered artists such as DJ Spanish Fly, Three 6 Mafia, and Tommy Wright III.
What captivated me was its rawness, authenticity, and the fact that it was something completely unique and previously unknown to me. Since then, I've studied all the Blogspots and channels dedicated to this small genre and devoured cassette rips that, thanks to the internet and a handful of collectors, are relatively easy to find and listen to on YouTube today.
For the first time in a long while, I felt the same excitement I had as a 14- or 15-year-old kid discovering grindcore and crust for the first time after previously knowing only bands like Cannibal Corpse or Vader.
7. How would you characterize 90s Memphis Rap (90MR), and why is it still relevant today?
Memphis rap is interesting because it developed somewhat independently from the popular boom-bap scenes on the East and West Coasts of the United States. At the time, nobody in the mainstream paid much attention to the Southern scene because it was simply different—sonically imperfect, perhaps too dark and strange.
Back then, most artists on the East and West Coasts relied on samplers and sampled jazz or funk recordings. This wasn't really the case in the South (with a few exceptions), probably because samplers were expensive and less accessible. Instead, this style of rap was often created using drum machines that were originally designed for electronic dance music.
Very few Memphis rap recordings use the classic sampled breakbeat. Other sounds, such as basslines and synth melodies, were usually played directly on synthesizers rather than sampled. Interestingly, melodies from horror movies were sometimes incorporated into old Memphis rap recordings, since horror films were extremely popular on VHS tapes in many households.
I think the genre remains relevant because of its unique combination of horror aesthetics and its unfiltered depiction of the violent criminal reality of that time and place.
8. Who were the main artists of 90MR, and what made them famous?
There are many, of course, but the most important popularizers of Memphis rap were undoubtedly Three 6 Mafia—especially Juicy J and DJ Paul. Before the official Three 6 Mafia releases, they were responsible for countless mixtapes and productions for local rappers.
Other key names include DJ Zirk, DJ Squeeky, Tommy Wright III, Gangsta Pat, and Kingpin Skinny Pimp.
It's difficult to say that these artists became truly famous in the United States or internationally in the same way that artists from New York or California did. One of the few commercially successful acts was Three 6 Mafia, who gradually broke into radio rotation and even won an Academy Award for a song featured in a film (although I believe that happened after 2000).
Memphis rap only began to emerge in popular culture relatively recently, and people are appreciating it retroactively. I think the popularity of trap music and the frequent references to these old Southern artists are largely responsible for that renewed interest.
9. Does this scene still exist in Memphis, or does it mainly survive through projects like Sniffah around the world?
I don't think there are many artists in Memphis today who are trying to make rap exactly the way Memphis rap was made in the 1990s.
As far as I know, thanks to the genre's rediscovery, artists like Tommy Wright III are still performing. However, it's still very much an underground scene. Interestingly, there are connections to the DIY hardcore and punk scenes, and some of these artists perform alongside powerviolence bands and similar acts.
The internet has definitely helped this forgotten genre. Over the last few years, it has been rediscovered by a new generation, but it's still a niche genre and cultural phenomenon.
Of course, Memphis rap continues to influence highly popular subgenres such as phonk, as well as the Dungeon Rap scene popularized by DJ Sacred.
Other contemporary artists drawing heavily from 90s Memphis rap include musicians associated with Doomshop Records, which I believe is based in Texas. Names such as DJ Akoza, MC Holocaust, and Freddie Dredd come to mind.
Still, I see it as an underground movement. In our part of the world, very few people know these artists. I could also mention Raider Klan and rapper Amber London.
One interesting fact: both phonk and Memphis rap are extremely popular in Russia and Ukraine.
10. Which modern genres grew out of 90MR, and have any of them managed to break out of the underground?
As I mentioned earlier, trap music draws heavily from Memphis rap as well as the Atlanta scene.
There's also phonk, which is characterized by dark atmospheres, heavy bass, Memphis rap acapellas, and the use of cowbells—a signature element of classic Memphis rap.
For example, the Russian artist Kaito Shoma had a track called Scary Garry that became one of the most-streamed songs in the world on certain platforms a few years ago, which is a rather surprising fact.
Another example is Beyoncé, who used an old Memphis rap acapella on her recent album Renaissance.
11. 90MR was built around very specific gear, beats, and production techniques. What equipment did the pioneers use, and what do you use yourself?
When I researched the equipment used by people like DJ Paul, I found that he worked with machines such as the Boss DR-660 drum machine and the Roland W-30 synthesizer workstation.
Some artists also used the classic Roland TR-808, which was more commonly associated with electronic dance music and techno.
For Sniffah, I currently use the following setup:
Novation Circuit, primarily for beats, loaded with sounds sampled from machines such as the Boss DR-660.
Novation Bass Station II, an excellent bass synthesizer.
Waldorf Blofeld synthesizer module.
Elektron Digitakt, which sequences everything and serves as the brain of the entire setup.
The Digitakt acts as the master controller for all the other gear. In theory, I could produce entire tracks on that machine alone.
I don't own any of the original vintage machines used by the pioneers of Memphis rap, but I do use some drum sounds derived from those devices.
At the same time, I don't want my music to sound like most contemporary artists who simply buy a "Memphis Rap Sample Pack." Too often, those productions end up sounding almost identical to one another.
12. Peter Beste was one of the first photographers to connect Norwegian black metal and American rap through his documentation of both scenes. I own his black metal book, but I've never seen the rap one. Did Peter Beste photograph the 90MR scene as well?
I only knew Peter Beste through his photographs of Norwegian black metal musicians, but I've since learned that he documented the Houston rap scene, which is fascinating in its own right.
Houston was also part of the often-overlooked Southern rap movement and certainly had connections to Memphis rap. The two scenes undoubtedly influenced one another.
Some of Houston's most important artists include the Geto Boys, DJ Screw—who invented the chopped and screwed subgenre and popularized the codeine-based drink known as Lean, which may ultimately have contributed to his death, RIP—and, among more modern artists, Paul Wall.
Paul Wall helped popularize grillz (decorative dental jewelry) during the 2000s and remains highly respected within Southern rap culture despite being white.
13. In your opinion, what do (black) metal and (90MR) rap have in common?
I think I mentioned this little curiosity to you back at Žalár. It comes from a YouTuber who did a great job highlighting the parallels with Norwegian black metal—and black metal in general.
If I remember correctly, the similarities were:
Poor sound quality – recordings were rarely made in professional studios. Most were self-recorded using whatever equipment was available.
Cassette distribution – most Memphis rap was dubbed and distributed on cassettes by the artists themselves, which also affected the sound quality since major labels had no interest in this “weird” style of rap. Satanic and horror themes – these were common in Memphis rap.
I believe Memphis rap was actually the first rap subgenre to seriously flirt with demonic imagery and dark supernatural themes, combining them with stories about street crime and violence.
14. Norwegian black metal became notorious for crimes and acts of vandalism directed at the Church—something unprecedented in rock culture at the time. Did rappers have similar excesses? I'm not talking about ordinary gang violence, but deliberate actions aimed at institutions or society.
I think the satanic themes in Memphis rap were more about coping with a dark reality and creating a certain atmosphere or narrative. I don't think there were murders inspired by occultism or anything like that.
That said, there is a fascinating conspiracy theory—an urban legend called "The 8 Sigils of Memphis Rap."
In short, the theory claims that there are eight specific recordings (the list of albums is easy to find online) during whose creation people were murdered, and that those deaths somehow became sealed into the recordings through a satanic ritual.
The legend continues by claiming that if a listener plays these recordings from an original cassette at a specific time in a cemetery, they can achieve various goals and alter reality through occult magic.
It's a pretty entertaining urban legend—perhaps invented by a Discogs seller trying to help move original cassettes for $200 apiece, haha.
15. How did this scene make its way to Europe and Slovakia?
Definitely through the internet.
That said, I don't think it ever really reached Slovakia beyond a few hundred people. Social media and trending TikTok audio clips certainly help, but I think the number of dedicated Memphis rap fans here is still very small.
What's interesting is that I know quite a few people from the international grindcore and powerviolence scenes who listen to a lot of Memphis rap.
16. Who are the main representatives of the genre today, and what are the relationships between them? Can we still talk about a scene, or is it more of an individual pursuit?
As I mentioned earlier, there is a scene in the United States centered around phonk and underground rap influenced by 90s Memphis rap, including artists such as DJ Akoza, Freddie Dredd, DJ Bucketz, and Baker.
There is also a fairly large community in Ukraine and Russia making phonk, Memphis rap, and Dungeon Rap. Some of the most notable names are DJ Sacred (also known as DJ Armok and Pillbox), DJ Bishop, and Lord Crucifix.
If we're talking strictly about Memphis rap itself, I don't think there's really a functioning scene anymore. It's more a case of artists from the 1990s being booked because of nostalgia and renewed interest in the genre. Tommy Wright III, for example, played around three European shows last year.
In our region these kinds of events are extremely rare. The closest artists to phonk or Memphis rap would probably be RNZ and Žakhéles from Slovakia or Redzed from the Czech Republic. I wouldn't call their music Memphis rap, but they definitely reference it.
As far as I know, Slovak rapper Karlo is also a big Memphis rap fan.
17. Where can people in our region experience this music or related styles live today?
I'm not aware of anyone regularly organizing events of this type in Slovakia.
I follow the local scene quite closely, and I'll say this without false modesty: at least in Bratislava, the people most likely to play Memphis rap are myself and DJ Inso.
At Fuga, Inso and I used to perform at Gafa's events, where I mainly played Memphis rap sets.
We also organize Dungeon Rap events together. Artists associated with Dungeon Rap and Memphis rap have performed there, including:
Sniffah
Dürt808 (DJ of Huga Toxxx, a Memphis rap fanatic and excellent selector)
Dismemberment
Mladey
DJ Sacred from Ukraine
DJ Sacred has probably done more than anyone else to popularize Memphis rap in Europe—and arguably worldwide—over the last decade.
(Attachments: posters for Dungeon Rap Vol. 1 & Vol. 2.)
18. The covers of your previous two albums, Segundas Grietas (2024) and Solstice (2025), feature riders on horseback. What do these motifs represent, and are the cassettes still available?
The cover of Segundas Grietas features a photograph of Prince Bajaja from the classic fairy tale, which was one of my favorite childhood stories.
I was always fascinated by the scene where his magical horse gives him a chest full of shining golden armor—serious drip.
It doesn't symbolize anything particularly deep. It's simply a materialized memory of a VHS tape that I watched dozens of times at my grandparents' house.
Of course, it also references the fantasy and sword-and-sorcery side of Dungeon Rap.
As for Solstice, I happened to come across a fantastic photo on a friend's Facebook profile (greetings to Kedrovka). She had photographed her daughter on horseback, and it fit perfectly with the concept of Solstice, a summer-themed cassette featuring brighter, more dance-oriented tracks as well as remixes from the previous cassette with Bajaja on horseback.
That's why there's a continuity of horse-riding characters between the two releases.
Both cassettes are sold out from me and from the label, but you might still find Solstice through Waldemar's distro, Sky Burial / Nomad Sky Diaries.
(Attachment: photo of the cassettes.)
19. What is Sniffah planning for 2026, and will we get to see you perform live?
As I mentioned at the beginning of this interview, I'm currently working on a split release that should come out both on vinyl and cassette.
Immediately afterward, I'll start another already-agreed split, which is also a bit unexpected stylistically. Let's keep the collaborator a surprise for now. I'll only give a hint: the artist has already appeared on Jablká Ďaleko Od Stromu.
I'm also working on a collaboration with someone that will be almost entirely dance music—bordering on house music. We plan to release one or two singles online this summer.
After that, I want to continue my solo work and make a more dance-oriented album that still remains faithful to Memphis rap roots.
Then I'd like to create what I call a "devilish shit" album—something that leans as heavily as possible into the essence of Memphis rap. It would be a return to the spirit of my first cassette, Rajas Primeras Vol. 1.
That project is probably more of a 2027 plan, depending on how quickly I'm able to produce new material.
As for live shows, I'll probably be playing in Bratislava sometime during the summer. Other than DJ sets, I don't have anything booked at the moment—so feel free to get in touch if you'd like a live performance.
20. What are you listening to, watching, and reading these days?
I've become obsessed with three records that I've been playing on repeat, and they're all completely different genres.
The first is the incredibly fun heavy metal/egg punk band Steröid from Australia and their album Chainmail Commandos (greetings to Tonko from Radiation).
The second is Swedish cloud rap/trap artist Bladee and his album Cold Visions (greetings to Seerus from Otras).
The third is the crushing American grindcore band Fake Dust and their album Decrepitizing Din of the Cerebral Psyopticon. It's the first grindcore record in a long time that has completely blown my mind, and I probably listen to it three times a day.
Today I rewatched Gummo by Harmony Korine for the first time in about fifteen years, and I liked it even more than I did the first time.
I'm also trying to finish The Penguin starring Colin Farrell, although I'm progressing slowly despite all the positive reviews from friends.
Finally, I've started reading the Japanese manga Berserk consistently, which makes me happy because the 1997 anime adaptation is one of my favorite things ever made.
21. Is there anyone you'd like to see interviewed on JDØS?
It seems like you've already interviewed just about everyone involved in extreme music or the underground, but I'd definitely like to read interviews with:
Mišo Lichý (Urban Failure, Urbsounds label, Správny Smer)
noise artist Maroš Kovaľ (Noitt, Krajné Čierno)
Peťo Kerekeš (Hlukár, Krajné Čierno)
22. A motto or final message?
I don't really have a motto.
Thanks for the interview and for the great questions!
Sniffah's Zimny cassette, as well as merchandise related to the latest release (shirts and hoodies), can be purchased through the Sniffah Bandcamp page or by contacting Sniffah or Calvos 73 Records on Instagram.
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Links:
https://www.instagram.com/sniffah666
DJ Sniffah (and related stuff) @ JDØS:
https://jablkadaleko.blogspot.com/2026/05/189-tomezr-reviews-4xmc-tapes-peace.html
https://jablkadaleko.blogspot.com/2022/06/rk22-citanie-po-rannej-kave-s-adamom.html
https://jablkadaleko.blogspot.com/2022/06/28-tomezr-reviews-morbid-angel-dust.html
https://jablkadaleko.blogspot.com/2026/01/172-tomezrs-reviews-5xmc-tapes-gods.html
https://jablkadaleko.blogspot.com/2022/07/2q-2022-tyzdenne-vybery-suhrn.html
