ApSci is a husband and wife alternative hip-hop duo comprised of New York native Ra Lamotta and Australian-born Dana Diaz-Tutaan. Since their signing with Quannum in 2004, ApSci has had the proverbial fire lit under them, propelling them into what will undoubtedly be a successful career. I caught up with them during a much needed rest in their New York home to talk about their beginnings and their latest release, “Best Crisis Ever.”
How did each of you get started making music?
Ra: I got started in my high school music program playing the sax and then transition to the bass guitar. I started playing with some friends in a little suburban punk band in basements and garages. When I went to New York for college I continued playing in another band and we played out for a couple of years with bands like Bikini Kill. I also grew up listening to hip hop so I’ve sort of ended up somewhere between the two.
Dana: I’ve always been a straight vocalist. I’m classically trained and got involved with the Australian opera at a very young age, and also did lots of karaoke. Later on I was always involved in theater and musical theater productions.
As I got older I was really into hip hop and always wondered how my classical training and hip hop would marry. I did a lot of spoken word in the 1990s, which was huge in Australia. Then I started doing some operatic vocals over drum and bass, so my influences are pretty wide and varied.
When and how did you guys get started as a duo? Were you together first and then decided to make music, or were you making music before you got together?
Ra: It sort of happened side by side. A lot of Australian musicians came over to New York in the ‘90s so we had some mutual friends. Everyone was playing together at clubs and bars and then the next morning we’d be looking for studios to go and record in. So everything happened at the same time pretty much.
What’s it like being married and being in a band together?
Ra: It’s certainly different, but we don’t bring any baggage when we’re working together. It tends to be a pretty emotional thing anyway when you’re in a band with someone, so it sometimes seems a little similar.
Dana: I find we can be really honest with each other. Any creative venture you’re involved in is a big commitment, but our communication is really good. I don’t want to say that I wouldn’t do as well with anyone else, but I’m not sure we would be as open with each other.
So how did you decide on your name? I know it stands for “applied science,” but what’s the reasoning behind using it for your band?
Ra: It happened the way I think most band names happen, you think to yourself, “Oh, that sounds cool.” But we also had this whole thing about dreaming big and doing big. So many people we know have big ideas and don’t get anything done, and others do a lot but don’t really have a big picture in mind. We’re a mixture of both in that we have all these big ideas and we get them done, like the application of ourselves.
What was it like getting signed to such a prestigious underground label like Quannum?
Dana: We were pretty psyched about it. We met Chief Xcel from Blackalicious in Australia and we weren’t trying to push our music on him. But he kept saying to us “play me your stuff, play me your stuff.” At the time we had a release with an Australian label, so when we learned that Chief Xcel had heard our record we didn’t really think anything of it. The day he called we were ready to send out another contract, but he said he wanted to sign us to Quannum. We were like, “Well wait a minute,” gave it a second thought, and decided to sign with Quannum instead.
Ra: When we met with Blackalicious we got to see the inside operation of what they do. I saw that they were decent people, just good folks, and it gave me a sense of hope like if I do become successful I don’t have to become a jerk, I can keep my soul.
Dana: It’s definitely an honor and when we were trying to decide what to do the answer was pretty clear.
What’s different, if anything about “Best Crisis Ever” than your previous records?
Ra: A lot in some ways, but I think it’s the same in that it’s still a bedroom album made with a laptop on the fly as we get ideas. This time around I think we were less afraid of being song writers and I actually had a lot of fun doing it.
Dana: We had a lot of tracks – about 30 of them – done in Brooklyn and we whittled it right down. The process evolved over a period of a couple of years, but it was worth it. Initially the project was a little overwhelming but once it all fell into place I was really thrilled.
What’s your process like?
Ra: I’ll just start humming and something will hit me. Like “Crazy Crazy Insane” I thought of while waiting for a bus and I just had to get it down. Once I got on the bus I programmed the bass line into my lap top. A lot of stuff tends to sneak up on us.
Dana: Ra produced all the beats and I didn’t take as much of a hand in the production this time around. He would bring in tracks and I would have my vocals so we would pool our stuff together. I just thought to myself, “I’m a vocalist and this is what I really do bring to the table.” We play our own roles and I come up with melodies and it works.
Ra (to Dana): Well that’s not to say you won’t produce more down the line because you could.
Dana (to Ra): Yes, well with this record I really wanted to focus on my vocals.
Ra: When we would get together her inspiration would come like lightening. I had about 80 beats for this record, and we always just go where the zeitgeist is. When Dana was into something it was just, “OK set up the mic, I’m ready to go right now.” She definitely inhabits a character and really defines the song.
Dana: Ra will play something and say, “Can you add something to this and sometimes it’s not working for me. It’s really not worth losing it over that stuff.
You did a lot of traveling to make this record – not only did you record in your hometown of Brooklyn, but also Sydney and even Malaysia. Did you travel with the goal of recording in mind, or was it a happy accident that you happened to be on the road when inspiration struck?
Ra: Yeah I’d say it was a happy accident. We did some stuff in New York and then took this pilgrimage to Australia and moved all our stuff over there. I’ve always found Malaysia really inspiring. And we also did some stuff in Europe when we were there playing at some festivals.
Dana: We’re aware that we have many happy accidents so we come prepared.
Ra: The beauty of technology is that a good studio is really inexpensive and it can travel with you.
In one interview you said that New York tends to be more competitive than Sydney within the music scene. Do you ever find yourselves in the giving end of that competitive vibe, especially when it comes to newer, up-and-coming artists?
Ra: Definitely in a friendly way. It really is like that whole “Purple Rain” Prince/Morris Day thing. New artists definitely make you feel like you have to step up your game. I checked out this band called Cubic Zirconium and they definitely just raised the bar for live shows in New York – we definitely want to rise to the occasion.
Dana: It’s a more healthy competition like having a running mate. Like you’re at the gym (not that I’m ever going to the gym) and you have someone to keep you going.
Ra: I was just reminded of a Q-tip quote; he says, “Competition is good, it brings out the vital parts.”
What can we expect to see from ApSci in the future? Is there a tour in the works?
Ra: We have some dates lined up in Europe and we’re hoping to get out to the west coast. We also produced a music video that’s finished and is coming out soon.
Any last words?
Ra: Thanks to fans new and old and enjoy the record.
