3/25/20

Darc Mind Was Here: Kevroc & X-Ray Reflect on 30 Years "Going Through It"

"Darc Mind was the theme, the thrust and the emphasis..." -Kevroc
Darc Mind has never been a household name, but if there’s ever been a time to get familiar it’s right now, when darkness abounds and mindfulness is needed like never before. Long Beach producer GM Web D aka X-Ray da Mindbenda and Elmont MC Kevroc have been making music together since the late ‘80s. Despite that, until the mid-00s, Darc Mind’s commercial discography consisted of one radio single and two soundtrack appearances. Over the past 15 years, however, the group has been rediscovered, their previously unheard works remastered and released. Still, as for public appearances, there have only been a couple interviews and a few photos. The duo didn’t put out a music video until 2019. If MF Doom is hip-hop’s masked supervillain, Darc Mind are The Watchers, cosmic beings surveying the universe from above, an unseen omnipresence inextricably woven into the culture’s quantum fabric.

Before Roc Marciano and The U.N., before I.G.T., Darc Mind was the first Long Island rap group to sign with Loud Records. In 1996, they were label mates of Wu-Tang and Mobb Deep, with rhymes equally cerebral to the former and beats damn near dustier than the latter. In the early to mid-2000s, when another longtime collaborator of X-Ray da Mindbenda, the aforementioned supervillain MF Doom, became the world's most popular underground rapper virtually overnight, and when his and X-Ray’s Monsta Island Czars crew released an album on Rhymesayers followed by a seemingly never-ending string of solo efforts, MC Kevroc remained on the “Outside Looking In,” his unmistakable bass vocals reserved almost exclusively for Darc Mind, album or no.

I first heard Darc Mind sometime shortly after their previously unreleased ‘90s sessions were issued on LP by Anticon Records in 2006 as Symptomatic of a Greater Ill. It immediately became one of my favorite Long Island rap records (hence one of my favorite albums in general) and has maintained that standing since. In fact, as I’ve aged, the duo’s music has taken on greater significance for me as a listener, the depth of Kevroc’s pitch exceeded by the depth of emotional resonance and lived meaning in his lyrics. Likewise, as more and more Darc Mind records have been unearthed over the years, it’s become increasingly apparent that X-Ray reserved some of his most progressive beats for Kev, that this MC could push this producer’s sound further than could any of the myriad talents in their shared cipher.

Now, a pandemic has engulfed the globe. We’re all inside looking out. Darc Mind has a new album. What Happened to the Art? is a rhetorical question posed by quietly prolific surveyors, as much an overview of the current post-cultural mileu as a retrospect of the moments leading up to this penultimate hour. It’s also their first collection of wholly new material in over a decade. The world might be about to end, but if it must, it first has to know: Darc Mind was here. Let it be known then.

Below: Long Island Rap Records humbly presents an extensive discussion with Darc Mind MC Kevroc and producer X-Ray da Mindbenda, which took place Saturday, March 21, 2020.


Are you guys originally from Long Island, or did you move out here when you were younger?

Ray: I originally moved to Long Beach from Brooklyn, about 14 years old.

Kev: Lifelong Long Islander. First home was Lakeview. Lakeview was elementary school probably up to about sixth grade and then we moved to Valley Stream and I went to Elmont.

Tell me about coming up in Lakeview/Elmont and Long Beach, respectively.

Kev: Lakeview and Elmont were comparable towns. In a span from 79 to 83/84, those towns were all the same and everybody was listening to the same things. I believe at that time we were still having block parties. Cats would still merge together and do outdoor parties, MLK Center parties. Hip-hop was still ours so to speak. It was still clay.

Ray: I was born in the Bronx and grew up in Brooklyn for the most part. When I first came to Long Beach, I was a little homesick so I used to go back to Brooklyn a lot until I got a few friends in Long Beach that had the same likenesses that I had, and that’s when I started running around with little DJ crews. One of my first in Long Beach was a crew called the East Side 5. We were very similar to Theodore and the Fantastic Romantic 5 and Grandmaster Flash and [the Furious 5], because we listened to all their tapes when we were growing up. We wanted to be like them — we were all living on the east side of Long Beach — so we called ourselves the East Side 5. Before I started producing, I was a DJ and wrote a lot of rhymes for other MCs. I was doing block parties, house parties, all the MLK Centers in Far Rockaway, Long Beach, Rockville Centre, the Lakeview area, all the centers that were in the projects. That’s how I first started DJing and got into the whole DJ mix. This was early ‘80s, I would say like ‘82.

Kev, you’ve described your style as old school and named KK Rockwell as someone from that school who stood out to you. One aspect of your sound that I’d argue remains years ahead is your inflection, how you change pitch and cadence. It’s almost as if you’re channeling jazz vocal tradition as much as rap. How did you develop your sound?
"My biggest influences was really cats
that never really hit off." -Kevroc

Kev: That’s a heavy compliment. Thanks for that. What always stood out to me from MCing, growing up, was the novelty of it all, the originality of the lyrics as well as staying on beat and in the four, so I’ve always been a big fan of that no matter who it is. Rockwell was definitely an influence, I think he influenced everybody, and I threw him out there because I think he’s overlooked in terms of old school rappers and their influence. My biggest influences was really cats that never really hit off: a cat I heard just a couple of times way back named Sir Brown from Duncan Projects in Jersey City; a cat named Rapper G used to spit out of the basements of Queensbridge Projects. Cats who lived there will know who I’m talking about. I don’t know nothing else about him. He cut a series of basement tapes back in like 80/81 that [I heard from] a cat that lived in Elmont I grew up with, who’s also got an underground line of cuts, this cat named ID I used to flow with back in my early days in the Kosmic Krew. I’m talking matching outfits, the Lee suits and the whole thing. Cats like that influenced me, not to mention Puba. [Grand] Puba was also an incredible MC, incredibly influential, made a big impact on us.

In the liner notes to Symptomatic of a Greater Ill, you cite someone named Hadji out of Hempstead as one of the people who made you want to pick up a mic. Would you tell us any more about him?

Kev: I was at a basement party in Hempstead on Peninsula Boulevard. Cats from out there will know what I’m talking about. It was just a regular basement party. Toward the end, usually the cats flowing was the DJ, who was an MC who was trying to DJ himself, and every now and again MCs would get on and take the party out. I remember this cat getting on, and he must have flowed for about 20 minutes straight, didn’t repeat nothing. [This was] 1980/81 maybe. I’d never heard of him before, never really heard much of him again unless he went by another name.

You never linked with him or saw him again?

Kev: Nah, just at that party. And there are other MCs, a lot whose names I couldn’t remember. I used to flow with friends at basement parties out in Coney Island. Back then, MCing was such that you didn’t know who was coming around the corner. There was always a couple of nice cats standing around someplace, you don’t even necessarily know who they are.

The liner notes also mention Tony Pines and the Kosmic Krew. That’s not to be confused with the spacey electro-funk outfit Tony Hines and the Kosmic Light Force.

Kev: Nah, I never knew that. Tony Pines was a neighborhood cat. In fact, Ray and I were talking about him just the other night. They remind me a lot of each other: hip-hop tinkerers in terms of the equipment. How DJs used to do things back in the day, they were very much cut from the same cloth: wrap the equipment up, get the show on the road, take it around the block, battling outside, powered off the streetlights. Tony was that kind of cat. [He] was from South Floral Park and had moved to the Linden Boulevard side of Elmont, like 240th Street. That’s where we ran into him. He was like the earliest facilitator with hip-hop for me. I was about 13. Pines’ crib was like the den. He was knee-deep in it and the rest of us got caught up through him, cutting and scratching. You learned about Super Disco Brake’s. I learned hip-hop culture starting from the DJ aspect of it.

Ray, I found an interview where you mentioned running with MC Serch and Tony D on Warlock Records. Were you in a group at that time?

Ray: No, I was signed to Tony D’s company. I knew Serch before I even went to Tony D’s because he used to come to Long Beach. I was a DJ, and Serch used to come to my parties to dance all the time, but then I re-met him when I was signed with Tony. [Later] I had this group called Legion of D.U.M.E. that Kev was a part of, but at the time Kev and Prime were solo MCs I was working with. I had MC Prime, and Tony D had signed MC Prime. He was from Long Beach and also a part of KMD. KMD was Prime, Doom, Subroc and Rodan, where at the time Rodan called himself Jade 1. I forget if [Prime’s] name was Prime at the time, but that’s what he was called when he got down with me. He signed to Idlers. Idlers was Tony’s record label distributed by Warlock. When I used to go to Tony’s studio, I would run into the Jungle Brothers, Whodini, Serch would be coming in and out of there. It was in Coney Island at the time, in [Tony D’s] house. So, that’s how I originally met Serch. We was working on a whole album from Prime. Prime ended up becoming part of Legion of D.U.M.E. and we signed with YZ, a whole other different story.




On our Militant Messenger post you mentioned working with independent labels since 1987 with Nicky G and Hobo Records? Who are those guys?

Ray: Those were Long Beach local dudes that I knew [and] was working with at the time. It was nothing serious.

Your credits go all the way back to 1988, with Suga Bear’s “Don’t Scandalize Mine / Ready to Penetrate,” which was produced by Paul Shabazz. What can you tell us about that experience? Was this at 510 South Franklin?

Ray: Well, at the time, they gave me co-producer on that. That just meant they was putting up the money, but I actually produced the whole record. Paul Shabazz had a studio downstairs from Public Enemy. Paul actually had an apartment and a studio in there. We used to go back and forth [between] Public Enemy’s studio and Paul’s, messing around, but when we started doing Suga Bear’s demo at my crib in Long Beach, we brought it to Paul. We actually was bringing it to Public Enemy, but they wasn’t there that day, so we knocked on Paul’s door, and he loved it and wanted to sign it. We started re-recording the song, because I did it on a four-track in my bedroom. So, we went to Ian London in Central Islip.

Kev: I remember that.

Ray: A very, very skilled engineer, Kenny Wallace was the engineer. [He] had credits for Stephanie Mills and all these big people, and his studio was dope. It was the first real studio I’d been in. That was my experience dealing with them. Before me and Suga Bear got signed to Next Plateau, we put it out on Paul’s label, so we would be in the Public Enemy building all the time, just taking meetings and doing stuff for BAU radio and promo shit. Between the years 87 and 89, I lived in that fucking building. I ate that Chinese restaurant across the street so much I got sick of it.

I read that you two first linked up with each other through a clothing designer named Trace Levine in the summer of 1989. Take us from that initial meeting to the formation of Legion of D.U.M.E.

Kev: College buddies: Trace grew up with Web, and I met Web through Trace.

Ray: But Kev was a solo MC with me before we formed Legion of D.U.M.E.

Kev: Yeah for about two or three years. I met Web, and he and I had a relationship with one another because down in 510 Franklin you knew what was going on up in there, but I didn’t really know anybody. I knew cats but I had no relationship with them, so once I got turned onto Web that was a plug-in.

How’d you get in there, initially? Was it through Web or were you just hanging out and occasionally recording there?

Kev: Nah, I was making my own rounds working with other producers. I used to fuck around down near Union Hall. I used to try to get on basically through other rappers. I was really climbing a steep hill. I wasn’t going the producer’s route. Back then, you would spit in ciphers and depending on how you did, cats would either move with you or not. That’s how I moved along. I would impress in ciphers, pick friends up and then kind of keep it there, keep it in the art, keep it in the cipher. Then, once I met with Web, we connected and made things easier for each other, so that’s why it’s lasted this long.

Did you have any records out before Legion of D.U.M.E.?

Kev: Nah, no records. It was just bars. Just bars.

Tell us a little about the origins of Legion of D.U.M.E.

Kev: Essentially it was a collection of soloists, a series of solo MCs working at Web’s house. We would cross paths and a chemistry evolved into a synergy for a brief period.

The Legion’s 1994 single “Son’s of Sam” was mixed by Jazzy Jay. How’d you guys link up?

Ray: Well, Schott Free was also in the group. He’s one of the first MCs on the record. Prime starts it off, Schott was the second MC and Kev was the third.



Wasn’t there anyone else in the group?

Ray: B-Wyze was in the group for a little while, but he ended up going with Professor Griff and doing some other stuff. When we first formed the group, it was actually B-Wyze’s idea, and I think he came up with the name and the whole shit. As far as Jazzy Jay, Schott Free was down with Zulu Nation, and Jazzy was Zulu affiliated so Schott automatically wanted to use [him]. Through that affiliation, I met Jazzy and became part of Zulu. I started bringing other projects to Jazzy as well on the side. I actually met Jazzy Jay through Schott Free, though.

That single came out on Darc Mind Records. Where did the name Darc Mind come from and how did Legion of D.U.M.E. become Darc Mind?

"I was stacked up with beats... He was stacked up with rhymes...
So we just went in." -X-Ray
Kev: Darc Mind Productions was my idea. Darc Mind was supposed to be a primary resource but also the offshoot it is today of Legion of D.U.M.E. Darc Mind was the theme, the thrust and the emphasis of the production of the sound of what we were doing: a dark mind. It would be referred to on tape or even in print as Legion of D.U.M.E. Darc Mind Productions or Darc Mind Productions Legion of D.U.M.E. Then, as Legion of D.U.M.E. came and went, Darc Mind had its day.

Symptomatic of a Greater Ill was recorded in 1995-97 but didn’t come out until 2006. For those who might not know the story behind it, can you recap how the album was put on the backburner and then later rediscovered?

Ray: Originally on Loud, we had a single deal. They was afraid of us. They didn’t know what to do with us. Even though Schott Free was not with Legion of D.U.M.E. no more, he and Matt Life was the A&Rs at Loud. They did think our sound was a little rough around the edges, so they sent us to Nick Wiz, and we did the single for them, which was “Outside Looking In.” They put it out there for radio release. It was almost like a promo. They never released it in the stores or nothing like that. It was mad copies pressed up and they promo’ed the shit out of it.

At the time, I was just trying to get us a full-fledged record deal. So, we was just recording and recording and recording on our own, bringing stuff to them over and over and trying to get back in the door. They heard one of the joints that we was doing, wanted to put it on the Soul in the Hole soundtrack, and gave us a chunk of money to do that, so now we had a little budget on our own to start recording more songs. We just kept recording, and before you know it the label first tried to move companies and that shit didn’t work and then they died.

I still had all the material. Schott Free was still in my corner because we was trying to put this package together to get the whole deal going. We put it all together and called it Symptomatic of a Greater Ill. But this was the idea of the other company that we signed with, Anticon. That was not gonna be the name of the album when we were working on it.



You put it out on Mindbenda Recordings as Soulfood, right?

Ray: Yeah, I put little bits and pieces out there. That was like a promo CD I had. That was one of the first names Kev had gave me when we were fucking with it. I just did that as a promo because when Loud was dead, I was still trying to shop the songs.

Was Peter Agoston involved in the album’s rediscovery somehow?

Ray: He was involved in taking photos of us, as far as I know. He may have been the one to put Pedestrian up on us.

Pedestrian wrote the liner notes, right?

Ray: Yeah, [he] was the guy who contacted me and wanted to do the deal and talk about bringing it back to life.

What about the making of the album itself? What do you guys remember about writing and recording it? What was the atmosphere like?

Kev: Those were great days. Studio rates were reasonable. We managed to have some real good relationships: cats like Shlomo Sonnenfeld and the late Bobby Crawford, not to mention like Web had said, Tony Dick.

Ray: Tony Smalios.

Kev: Dave Lotwin. There was a lot of traffic, a lot of people in the booths and the studios.

Ray: A lot of the stuff we did was at D&D Studios as well.

Kev: We always had a big cache of material, a lot of stuff to take in to work on, so that’s what it was about. And that’s what our belief is today. What do they say? “The reward for good work is more work.” We try to keep working.

You’ve mentioned doing some voice-acting work in the years after Darc Mind’s initial run. Could you tell us where we might’ve heard your voice outside of music?

Kev: I did a voiceover for WBMC radio. This cat named Bazz, he’s got an online promo. I started out doing not-for-profit promos for a community-based organization I was working for in the early ‘80s. I used to do local radio. I did “What’s the Buzz” with Paula Kersey, things like that. It wasn’t so much me as much as what we were talking about and the time we were talking about it, so that led to some other opportunities. People heard the voice. I got turned onto a cat named Daniel Chaplain who was running a voice-over company. He and I were able to help each other. He was able to teach me some things, and I was able to lure some talent to him. We did a couple of demos. I got into Voice123, which was an online company that still exists today. I highly recommend them – plug to Voice123. Through them, it’s mostly been personal relationships and personal acquaintances. I’ve done everything from layovers on old films in studios and also a lot of auditioning.



Not counting compilations, What Happened to the Art? is Darc Minds’ first full-length project since Bipolar, so the first in over 10 years. What inspired you to record another full-length?

Ray: I didn’t want to get rusty. Kev had moved down South for a little while then ended up coming back to New York. While he was living down South, he was coming up every once in a while, and we’d record, but he was telling me he didn’t like it down there [and] was trying to come back. So, when he finally came back, we just linked up extra heavy again. I was stacked up with beats I wanted to give him. He was stacked up with rhymes he wanted to come with, plus we had other stuff that we didn’t finish up, so we just went in.

How have your perspectives changed since your last album? Obviously, you’re older now, but were there any life experiences or observations that particularly informed this project?

Kev: Absolutely, there’s a broadening of perspective. You wouldn’t be an artist if your perspectives aren’t being broadened. What Happened to the Art? is our iteration of that perspective having been broadened. Not to sound corny but that’s what it is, the latest iteration. I’d say we’re just as affected by everything that’s happened over the last 10 years. Just as a swath, you figure between 2018 and 2008, we’re affected by this economy and the politics of it. I would hope those things are reflected on What Happened to the Art?

What about on a more personal level?

Kev: We’re always going through it. Born and raised in New York and then to spend three or four years down South, yeah, you’re gonna go through it, so there’s plenty to talk about when you get back. I learned a whole lot too. I learned a lot about manners, believe it or not. I learned to appreciate them again and appreciate myself and others. Those types of simple things really matter to those folks down South. I tried to explain to them that when you come from the North that’s considered an angle. But over there, when they ask you, “How are you doing?” they actually mean it, they really want to know how you are doing. You have to have that and if you don’t, you risk the dialog from that point forward, so it actually slows you down and then when you get back to New York, you find yourself listening to people more. I would say I’ve benefited from that absolutely.

"In my day, 'a writer writes always.'" -Kevroc
What is your writing process like? Do you do it more on your own or in the studio with others? How much does freestyling play a part, if at all?

Kev: In my day, “a writer writes always” (Throw Momma from the Train). You write on your own, of course, but to start to take it serious, you keep at least one set of 48 bars nobody’s ever heard, a 12 to 16 you’re always working on, and try to go into every studio or freestyle session relaxed and clear headed – I’m usually satisfied with what I yield. I try to always be reading something. Right now, I’m skimming “The Sealed Book of Jared” and Marvel Comics’ Savage Sword of Conan from the ‘80s.

I’d like to talk about the album title and play devil’s advocate for a second. What do you want to happen to the art?

Kev: Ah-ha, that’s on you Raymond [laughs].

Ray: If you open the actual CD, you will see there’s a picture inside of the Louvre, with the picture of the Mona Lisa the first time it was stolen. It’s not there.

What I want to happen to the art is what’s kind of happening in the underground right now. It’s bubbling up, with the Griselda guys coming up and linking up with Jay-Z and Eminem being involved with some of it, so some people with money are getting — even the Jay-Z with Jay Electronica album that just dropped. If you listen to it, it’s heavily influenced on the type of shit that we doing now. So, that’s what I want it to be.

They could have their music for the kids that want to go to clubs and drink fucking lean all day. That’s cool. If that’s what they want to do, let them do that shit, but don’t starve our shit. Let our shit grow and eat, because there are intelligent people that want to hear good, intelligent music with dope beats behind it. The mainstream radio has been ignoring that for years. Now you got Jay-Z who’s a billionaire coming back and looking at some of that, trying to help. That’s a good thing. We got kids that grew up on Darc Mind that right now might be a doctor, might be writing a movie. So, that’s what I want to happen to the art. That’s what needs to happen – progression.



Your music has absolutely been a huge inspiration to me over the years. Again, thank you for taking the time under the circumstances. I know there’s a lot more we all are worried about right now, so I appreciate you guys sitting down with me to talk about this.

Ray: It took away from the boredom a little bit. How many beats can you make in the studio all goddamn day, you know?

Have you been productive from this?

Ray: Not as much as usual, because of all the stress and the bullshit behind it.

Right, that’s what I’ve been finding too. People who don’t work from home think, “Oh, you’re going to be at home, you can get so much done.” But now I’m at home worrying about shit.

Ray: Yeah, exactly it’s not like you’re home and you’re on vacation chilling. It’s like, shit, you might get a knock on the door by the army and get shot in the fucking head.

God forbid, knock wood.

Ray, obviously you were a driving force behind the Monsta Island Czars, having produced essentially the bulk of the group’s discography including much of the individual members’ solo work. There’s so much amazing music to be heard from that catalog, but there are two albums that always really stood out to me, both of which came out in 2004: Megalon’s A Penny for Your Thoughts and Rodan’s Theophany. What can you tell us about those sessions?

Ray: It was around the same time we were doing the Monsta Island Czars album. We would be getting together real frequently in my studio in Queens and just working on that album. They would come here, one guy would do one verse, another guy would do another verse. Now they sitting around and ain’t got nothing to do, so I’m playing the beat back and they over there in the corner writing to some other shit that I gave them. That’s how we started building up their shit. Megalon would be like, “Alright, I got one, give me this beat that you gave me.” [He] would do his shit while they all in there getting drunk, having fun, playing dice and doing all the crazy shit that they do. Megalon would come out the booth, and Rodan would be like, “Yo, let me lay a verse on this joint right here” and then come back and finish it up. Neither one of them had a title for any album. It wasn’t like they were working on an album. They were just doing joints, trying to build up a catalog, until the Monsta Island album came out and there were some financial problems. Doom had moved to Atlanta. They felt that they wasn’t getting enough money, so they started trying to work on their own shit.

Rodan come to me like, “Yo, I got the album title, I want to do this.” So, we started working on his shit. We was working on Rodan’s album before Tommy Gunn’s. Gunn took a little time. Rodan’s album we did in about six or seven months. The thing was when the album was finished, it was never really mixed and mastered. It was just all these demos on the disc. Rodan had a relationship with D.J. Fisher from Day By Day Records. I think he owned it before Grimm and then Grimm got involved with him. I’m not sure how that happened, but Grimm was in jail, and D.J. Fisher was running the shit, and Rodan had a relationship with him.

What about A Penny for your Thoughts?

Ray: Gunn had went to jail for a little bit, came home and needed a place to work and to stay, so I helped him out. I had just broken up with this chick, so I had a little room for him. I got him a job where I was working and let him stay with me. That’s how we did that album. I would come back from Lynbrook, and he would come back from Manhattan and meet me in Queens. We stayed together for about eight months until he was able to get on his feet. We already had some songs recorded before he went to jail, so when he came back, we was fixing those songs up and added more. He changed the title three or four times. The first title was Thief in the Night and it was different artwork. You know Westside Gunn when he puts on the facemask, the hoodie with the ski mask?


Sure, the balaclava.

Ray: Yeah, Gunn did that shit way back then. I still have the artwork for that, and then out of nowhere he decided to change it because he came up with an idea. He wanted to do A Penny for Your Thoughts and said after that he wanted to do A Nickel for Your Kiss. I still had my relationship with D.J., Gunn had a relationship with D.J., we was all involved with Monsta Island, and D.J. was involved with Day By Day and Grimm at the time, so we was still dealing with them. Mindbenda was in the beginning stages.

In addition to putting out stuff via Mindbenda Recordings, you’ve worked with independent labels Heavy Crates, 299 Records and Dope Folks. Financial considerations aside, what draws you to these kinds of arrangements?

Ray: Most of the arrangements that I have with those dudes are licensing deals, which means they don’t own anything. I’m giving them permission to put it out for a certain amount of time and a limited amount of copies. After that, the ownership is strictly mines. That helps me out when I’m doing a project. I’ll get a chunk of money from Dope Folks, take it and put it into pressing up a CD, doing some t-shirts and making a video. That’s why I do stuff like that.

Is there anything else I didn’t touch on that you guys wanted to talk about?

Ray: We are working a new one right now. It’s an EP. It’s gonna be about five or six songs. We’re almost done. This thing happening right now is holding us up, but we’re close.

Does it have a title?

Kev: Darc Mind Was Here.

Is that going to be the final project? That name has a little bit of a finality to it, and I’m not talking about the current circumstances.

Ray: We’ve spoke about that. I’m not 100 percent sure, but Kev, you can give him an answer.

Kev: Darc Mind Was Here [laughs].

Ray: That’s what it is then.

Kev: That’s what it is. Darc Mind Was Here.



Selected Discography
Legion of D.U.M.E. - Son's of Sam 12"/CS, Darc Mind Records WD01, 1994
Outside Looking In 12", Loud Records RDAB-64661-1, 1996
Symptomatic of a Greater Ill, Anticon ABR0063, 2006
Bipolar, Mindbenda Recordings, 2006
Legion of D.U.M.E. - '94 D.U.M.E. EP, Dope Folks DF0006, 2011
Antediluvian Vol. 1, Mindbenda Recordings / Dope Folks DF0031, 2013
Antediluvian Vol. 2, Dope Folks DF0057, 2014
What Happened to the Art?, Mindbenda Recordings MBR0015 / Dope Folks 0098, 2019

1 comment:

Unknown said...

Great interview, learned a lot from it.

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