Ever since Nas’ Hip-Hop is Dead album ringed the alarm on the state of hip-hop; critics, journalists, artists, and even some unwilling record label executives have been scouring the music scene for a sound that will breathe life back into the art form.  Hip-hop’s most promising duo known as, Kidz in the Hall, is considered by many to be that breath of fresh air.

Hailing from their respective backgrounds of Chicago and New Jersey, Naledge and Double-O, met in 2000 at a University of Pennsylvania talent show.

From there the bond was formed over Naledge’s sharp intelligent rhymes and Double-O’s understated and rich atmospheric production. 

Now that they are permanently out of detention and ready to teach the music industry a lesson or two, the duo found time to talk to Sixshot.com about their new mixtape, Detention, being co-signed by super producer Just Blaze , the issue with being labeled “back-pack,” and what they respect and can’t stand most about each other.

Lately, with artists such as Kanye West there has been a trend of school-themed album titles.  Why did you two decide to follow that trend with your mixtape title, Detention?

Naledge: For years DJ’s and MC ’s have been going to college, but they don’t talk about it.  However, this title fits us because we met in school, and we came out of that system. 

What’s the worst thing you did that you got you sent to detention?

Naledge: I went to Catholic school, so I was always out of uniform.

Double-O: For me, it was mostly talking back to the teacher, because I was smarter than them.  Sometimes teachers don’t want you to contest what they have to say, and I usually found myself in detention for challenging them.

What are you hoping to accomplish with your release?

Naledge: Our first album, School Was My Hustle, did well on the underground hip-hop market, and those that brought the album know what we’re about.  However, the people that read interviews and just looked in a couple of magazines didn’t get the full scope of our music.  They kind of shrugged it off as underground and back-pack music.  So now we want to step outside of that and show people that we’re well-rounded.

When people say back-pack they immediately think that only white college kids listen to your material.  How do you guys feel about that prejudice and stereotype toward your music?

Double-O: It’s funny because back-packers didn’t exist when we first fell in love with hip-hop.  If you listen to NWA and A Tribe Called Quest, it’s just hip-hop.Back-pack really developed around the time of Puffy, because it was such an anti-jiggy mentality.  So there are some truths to stereotypes but most are generalized B.S. 

Naledge: We don’t necessarily create music just for a college audience.  I think the college crowds latch onto the music because they are explorers when it comes to music.  They want the newest thing.  They want music that is thought-provoking and music that they can dance and relate to. We cornered that market because they feel like we’re one of them. 

Do you feel pressure to now break out of that market?

Double-O: We just wanted to make a dope hip-hop album.  We accomplished that, and now we want to evolve and take it to the next level.  Breaking out of the box is what we’re always going to do from album to album.  Once you get an idea of who we are we’re going to try and expand that idea, because there are so many things that we like to do.

Naledge, you’ve commented on the lack of diversity and choice in hip-hop.  Is it corporate control or the listeners that are to blame?

Naledge: The fact of the matter is that there is a formula to what is getting signed and promoted to the public.  At this point a lot of people have to conform or compromise or they’re not going to get signed.  What you try to do is find a medium when dealing with the labels.

Your label, Rawkus Records, is legendary for bringing us such artists as Talib Kweli, Mos Def, and many others.  Do you guys feel a sense of pressure to represent the label and bring it back to its glory days?

Double-O: Rawkus lives and dies by the music and not just having a cool razor blade logo.  So at the end of the day, the focus is always going to be on our music and our presentation; everything else is secondary.  The only pressure that ever existed, if at all, was making sure that our music was heard properly and given its best foot forward.

You guys have an ESPN deal that allows you to produce all of the music for the college football season intro themes.  Were there any hesitations about signing the deal since some of your hard-core fans might accuse you of selling-out?

Double-O: We’re not afraid of corporations.  At the end of the day I love making hip-hop music, but I also understand that Kidz in the Hall is a product.  I don’t mind dealing with people that have the same ideas and focus that we do.  We’re not just running into any single corporate building and getting a deal.  So as long as the deal makes sense there’s nothing wrong with it.

What advice has your mentor, Just Blaze, given about the music industry?

Double-O: We learned that you have to work harder than everybody else.  There’s always someone else just like you grinding just as hard. The minute that you stop is the extra minute that they get ahead of you.  So it’s about working the hardest and the longest, so that when the opportunity comes you’re well-prepared.

Do you guys see yourselves doing solo projects whether or not you remain together as a duo?

Naledge: Yes, because music is one of those things that we’re always creating and different ideas and projects come along.  At the same time, we  will always be in the same musical realm. Rarely do you see people that are actually true friends making music together.  The reason why a lot of groups break-up is because of money.  But I don’t see that happening to us.  We love hip-hop just a little bit too much.

Double-O: We’re definitely going to do solo projects.  Naledge’s solo album is coming out right after we release the album we’re currently working on, Class Participation.  At the same time, I’m still involved in it and vice versa.There’s a certain level of quality control that we both understand whether it be sonically or lyrically.  Therefore since we respect each other’s craft so much, we know that we can always depend on each other to make sure the music is being done correctly.

Name one thing that you most respect about the other person and then name one thing that most irritates you about the other person.

Naledge: I respect Double-O’s drive and determination.  He was always saying that we have to make it.  Whereas I was like, “I’m about to get a job or chill and go back to school,” and he said, “No we have to keep going.”

And what gets on your nerves about him?

Naledge: [Laughs] The same exact thing.  In meetings or when you’re trying to work on music it works.  But sometimes if you’re at a club or a party [Laughs] and you’re trying to leave it can be a hindrance.  For example, he’ll be so determined to get that one girl, and you’re like, “Let’s go son.”

Double-O what gets on your nerves about Naledge?

Double-O: Sometimes people expect me to be super high-energy, because Naledge is a little more laid back and quiet.  Since we both can’t be quiet, I have to be that high-energy person.

What do you respect most about Naledge?

Double-O: I respect his ability to be so prolific.  Naledge literally has the ability to tune out the world, and write a great record at a meeting, on the bus, or wherever.  Sometimes I wish I could do that.  I have to be in a certain creative space in order to make music.  I need to have incense burning and a girl walking around butt-naked in order to be inspired. [Laughs]

Naledge:  Me too.