Teaming up with producer Swamburger and his Second Subject collective, the MC and producer have developed a fresh sound—vaguely reminiscent of the early aughts-era Def Jux and Rhymesayers aesthetics that first introduced the lyricist to the underground, yet unique to the unofficial duo and perhaps a little more rooted. On February 22nd, they are releasing Sean’s first solo studio project—a celebration of his ancestry and the evolution of Black music in America, appropriately titled Bloodline. UGHH got up with the emerging lyricist to discuss the project and his charitable endeavors, as well as discovering underground hip hop (the genre) through a video game and our company’s unbeknownst role in inspiring him to start rhyming.
How’d you get your name? Why do you think it suits you?
I was born with the last name Shakespeare. Don’t know why my parents named me Sean, though. Sean’s an Irish name and I like whiskey, so I guess the stars aligned on that one.
I can’t front, when I saw the cover for Bloodline, I was expecting something much bleaker and maybe more angsty—but was surprised by how upbeat and energetic it is, despite touching on a variety of serious social issues. Was that a conscientious decision, or more indicative of who you naturally are as a person?
Yeah, I’d say it drops a clue on who I am as a person. I’m an observer and a calm dude. Bloodline is an observation of self and society. I’m always challenging the way I think. I flipped the map [on the album cover] as a play on perspective. There is no true up or down. As people, some of us tend to defend what we’re used to or comfortable with before applying any objective reasoning, you know? The list of things that applies to is almost infinite. I just wanted to shine a light on that a bit.
Tell me about the title, Bloodline. What does it mean to you, and how would you describe the underlying theme of this project?
I named the album Bloodline as a statement for my cultural identity and lineage. Slaves had their identity taken from them, which started the process of a people rebuilding an identity of their own. Slaves sang early versions of gospel hymns as we know them, which greatly influenced blues, soul and even jazz musicians. Disco came along with influences from those prior genres, which was the main ingredient for break beats in hip hop. Eventually, I come into existence looking back at it all like, “Damn, I’ve got a pretty dope bloodline.” This album celebrates that.
Let’s talk about “Ghost.” You pack a lot into that track. What inspired it?
I’ve always thought of myself as a ghost in the flesh, wandering around, doing what I do. Other than that, I’m just a series of choices. I make the choice to get as good as I can at my craft. There’s no finish line. The lyrics in the song are just reminders of that.