Music Review: Underground Hip-Hop Radio

Sunday nights typically trigger the re-emergence of school or job -related preoccupations. Furthermore, Sunday nights are usually accompanied by the realization that the weekend is often ephemeral, inevitably disintegrating from our present.

However, it is time for many to realize that Sunday nights in L.A. need not transpire without the existence of the pure energy and good flow that good music can provide. All we need to do is listen to the dynamic airwaves that pervade our city every Sunday Night at 11pm. It is at this exact time, while most of the city sleeps, that an independent weekly radio show unleashes the sounds of a genre commonly accepted as the most important new musical genre of the last quarter century.

“We Came from Beyond”, single-handedly operated by Mike Nardone, is the longest-running underground hip-hop radio show in Los Angeles. As part of the lineup at KXLU (88.9 FM), a station run independently from the Loyola Marymount University campus, “We Came from Beyond” has been on the air since 1988, a length of time that traces its origins to a time when hip-hop in Los Angeles was still in its infant stage, not yet widely accepted as a mainstream source of entertainment.

Mike Nardone has closely observed the development of the genre for almost twenty years now, an appealing characteristic for anyone wise enough to realize that a listening experience under such independent and rooted conditions can often prove more liberating than the formulaic experience mostly offered by almost all other hip-hop radio shows; their programming is influenced by the confining capitalistic mechanisms of the music industry.

The longevity of Mike’s involvement results in a perspicacious perspective that is regularly sought after by anyone attempting to make sense of the characteristics, the evolution, the challenges, the trends and ultimately the essence of hip-hop music itself. He has been quoted in numerous magazine articles and has been cited in variety of publications. In recent years, Mike was consulted in the writing of Jeff Chang’s book “Can’t Stop, Won’t Stop,” perhaps the most panoramic history of hip-hop ever written. As recently as last week, an L.A. Weekly article dealing with the topic of mix-tapes featured an insightful response by Mike that probed at record executive motivations for restricting their distribution.

On one hand, “We Came from Beyond” is a living and breathing manifestation of an evolving art-form, an art-form that in recent times has been widely pronounced dead. However, as Mike would certainly point out and as anyone willing to listen will realize, declarations of a musical flat-line here are premature. Throughout the years, the show has continuously proven to act as a true harbinger for upcoming artists that have later contributed to the diversity of voices that hip-hop represents. It is here that musical talents such as Freestyle Fellowship, Jurassic 5 and Cypress Hill were heard for first time, when other radio stations snubbed them. As they have in the past, these and other fresh voices promise to push the hip-hop industry beyond its financially driven conformity. In this manner, the continuous blood-supply of fresh voices supported by Mike’s show is somewhat reminiscent of a farm system, serving as an outlet through which an evolving artist can develop exposure.

It seems then appropriate to note, that while modern business schools are currently cultivating future corporate executives, the likes of which will surely someday dictate the challenges facing artists. Mike Nardone’s “We Came from Beyond” in large part exists now, as one would hope could be repeated across all industries, as a protector and advocate for all that remains in its pure and raw-like form. My purpose here is not to create an anti-corporate diatribe. In fact, Mike himself points out that commercial hip-hop is not automatically something to be denounced. Simply stated, commercial hip-hop is obviously the more visible component of the art-form, and therefore, plays an important role in providing it with overall exposure, while also keeping it relevant. He does, however add, that this more visible component will increasingly require a steady injection of fresh voices, sounds and ideas that will insulate its existence from becoming generic and irrelevant. Such is the importance of shows operating under the same ideals as “We Came from Beyond”.

Another appealing quality about this show is the frequency of interviews held with artists. During these interviews, Mike helps unveil the curtain behind a variety of topics ranging from sources of artistic inspiration to the artistic process itself. The conversational tone is inviting and refreshing, while you should be aware that listening to Mike will undoubtedly supply you with one of the most distinguishable laughs on the air. I’m sure those who have heard it can almost hear as they read this. Overall, the tone of the interviews is serious in content but relaxed and fun in its execution. Most importantly, they are always informative. It is by way of these interviews that I came to realize the extent to which current underground hip-hop represents a myriad of life experiences and ethnic backgrounds; backgrounds ranging from Russian, Korean and Canadian, all providing their own unique perspective.

Upon more of these discoveries, it is becoming increasingly hard to accept that there are so many hip-hop fans in Los Angeles alone, and yet, still so many remain unaware of this shows existence. Furthermore, it is increasingly hard to remain idle while hip-hop listeners are often deprived of any significant familiarity with the voices that can be heard “rockin’-the-mic”, not only on Sunday nights, but at music venues across the city. The observance of this deprivation is in part my reason for shedding light on “We Came from Beyond”.

I have also come to realize, for some time now, that on a much more committed and passionate level, this is the same type of principle under which Mike Nardone has been operating for twenty years. Beyond his time on the air, a significant part of his free time is spent listening to new artists, giving almost anyone with a record a chance to have his or her talents acknowledged and heard, thus, imposing upon his show a high-level of fresh urbanity and equality.

His website, wecamefrombeyond.com, clearly makes this open-minded policy known. For listeners, accessibility is also extended by allowing anyone to email requests. For those with i-pods, Mike also ensures that every show is always made available as a free pod-cast (with a corresponding playlist for each show on his website), serving as an additional method of listening for those who find themselves asleep when the show airs. And finally, for those with reception concerns or those living beyond the boundaries of its airwaves, the show can also be heard on KXLU’s website as a live feed. And, as if these additional features weren’t enough, anyone engaged in instant chatting can message him during his three-hour show and chat about the underground or simply make requests. I’m told people as far away as China regularly contact him as a way of staying updated with the latest sounds. His show is also a great way to acquire free tickets to shows around the city.

I should also mention here that Mike will soon compile a list of the Greatest Releases of 2007, which would be a great way to either expand or commence one’s familiarity with the underground world of hip-hop. Among the artists that will surely be a part of this list are: Evidence, Brother-Ali, Percee P, Aesop Rock, Jeru the Damaja and Hochii.

For Mike Nardone, the consistent dedication to his show endures the demands of his full-time job and family, and so, one could only sit back and admire the labor of love and sense of responsibility that Mike not only feels, but acts upon, despite having various reasons to perhaps pursue a more paved road. Instead, Mike functions as a pioneer and wholeheartedly provides a voice to those otherwise unheard. In the process, his efforts, grounded in truly democratic and artistic principles, allow us to realize that for the time being, hip-hop is anything but dead.