Writtenhouse

You could almost see their ears pricking up. As Philly hip-hop foursome Writtenhouse took the stage, as the bass started to rumble through the House of Blues in Atlantic City on Friday night, the scattered crowd waiting for Snoop Dogg to perform began to condense and move toward them. By the time MC Charlie K began spitting the lines of his second verse, the crowd couldn’t help shaking their asses. Writtenhouse had them.

Despite being fairly off-the-radar as far as mainstream pop fans are concerned, the doobie-smoking Snoop fans (and during Snoop’s set, many a tree blazed) warmed to Charlie K’s breakneck rhymes slathered over the live production of Kush and Conway, pumped up by hype man Sleeves’ accents and emphases.

In an all-too-short set they showcased cuts from their new fabulous record While You Were Sleeping, and the couple mixtapes that preceded it, with an energetic live show that matched the line-by-line versatility and lyricism of the album. Behind the MC and hype man, the producers laid rhythms live—a point of pride for the group. Charlie took an opportunity for an interlude, instructing Conway, “Give ‘em the one,” who proceeded to lay a throbbing bass beat under a swelling soul sample, his fingers flickering over the drum machine buttons as if he were playing a bongo. Their stage time was too brief for any heavier improvisation from the producers, but the little tastes they threw onto their songs indicate a band capable of expansive embellishment, fully in control of their game.

Their sound was grittier and darker than Snoop’s West Side glamor, with that distinct Philly style heavy on syncopated rhythm, melodic samples, and tinkling R&B keys a la D’Angelo. Charlie’s lyrics touched economics, self-reliance, and an urgent sense of destiny.

Whether the partying crowd could catch the message that Charlie K put across in songs like “Cloud City” or “Keep It Movin” mattered little; he’d check up on them between songs, asking, “You guys like what you hear?” Their response was always a roar.
They couldn’t resist the grooves, such as the old-school soul riffs from Kush’s keys on “Mahogany Blu,” juxtaposed against the refrain, “I can see the sign in the change of times, so I can make it in mahogany blue.”

In their hunger for the audience’s attention, they’ve positioned themselves as the next big thing in rap music by developing a style blended in the richness of live instrumentals and vocal samples used as instruments, delivered against carefully constructed rhymes that unfurled against a rich sonic tapestry. Writtenhouse is slowly garnering more and more attention opening for headliners like Snoop, Wu Tang Clan, the Roots, and De La Soul. They just may be the next level of Philly hip-hop. They just need their own gigs to prove it. (Ada Kulesza) - Philadelphia Weekly

Philly hip-hop outfit Writtenhouse was a few finishing touches away from completing their debut LP when everything suddenly changed. Close to 90 percent done with recording their studio of choice was robbed, and all progress was lost. They were left with no choice than to start an entirely new project, and a few months later the release is here as While You Were Sleeping.

Much of what Writtenhouse takes pride in is their stage presence and ability to put on a rockin’ live show. In an interview with Philadelphia Weekly, head MC Charlie K said the album was a semi-complete picture of who they are as artists, but in order to get the full picture you have to see it performed live. If what Charlie says holds any water, While You Were Sleeping proves that these guys must put on a damn good live show.

MC Charlie K takes center stage as the project runs through non-stop rapid-fire wordplay for just under 40 minutes. Content wise, the album is deeply rooted in reality, touching on hip-hop progression, lyricism, and positivity. It’s easy to classify this album as “conscious” hip-hop, but fitting this album into a category would be a mistake. “Cigarette Smoke” purveys a positive message about overcoming addiction in everyday life without coming off as preachy. Charlie K takes a well-produced, well-paced album to a whole new level with intelligent wordplay that doesn’t rest for the whole listen.

Producers Chris Conway and Kush Shalimar put forward a diverse sound palette deeply rooted in 90’s boom bap percussion that creates great cohesion and smooth flow through the entirety of the album. “Excel” takes a smooth jazz sample with a chopped up Nas vocal for a make shift chorus that would make the late Nujabes proud, and have any long time hip-hop listener’s head nodding. At the opposite end of the spectrum “Gorilladelphia” boasts a hard hitting break beat and a sharp guitar riff that brings the album near it’s close on a high note.

Plain and simple, Writtenhouse hit the mark with While You Were Sleeping. The rich Philadelphia hip-hop scene has something to be proud of with this release. Much of the same characteristics that made Diamond District’s 2009 effort In The Ruff so successful are what helped Writtenhouse succeed on this release. No groundbreaking new sounds, no experimental lyricism or album construction, just a great straight up no frills hip-hop record. With everything in hip-hop today, it’s a very welcome breath of fresh air. - Potholes In My Blog

What follows the colon coming up doesn’t contain an ounce of hyperbole: The De La Soul/Native Tongues-ish Germantown rap group Writtenhouse are the most dynamic, fresh, ethereal and unique hip-hop artists in the city. TRUTH. People in the industry are starting to notice, too, which is why the group—made up of verbal mechanic Charlie K, live beat producers Chris Conway and Kush Shalimar and hype man Somerville Sleeves—is being asked to open more and more high-profile shows as time goes on. They’ve been getting cushy with Black Sheep, Wu Tang Clan, the Roots, and this week, Kidz in the Hall at the TLA. Be sure to get there early to catch the live mixing they do and what is absolutely, to our minds, the best show hip-hop has to offer.... - Philadelphia Weekly

The exciting Philadelphia hip-hip trio Writtenhouse performs at the Midtown Tavern on October 23 as a part of the popular Midtempo Thursday series. Show scheduled to begin at 10 p.m.

MC Charlie K., drum machine player extraordinaire Chris Conway (see video below) and producer Kush Shalimar bring sophisticated J-Dilla-esque beats, complex lyrics and a positive feel-good vibe a la the Native Tongues (especially A Tribe Called Quest) crew of the early 90's.

Over the past few months Midtempo Thursdays has featured dozens of high quality local and national unsigned hip-hop acts. Writtenhouse is undoubtedly the cream of an already rich crop.

If you love pure hip-hop -- beats, rhymes and mic skills -- you should head to to this concert!

I know I will be there. - PennLive.com

Transcribing interviews is a meticulous exercise even when they follow the standard format. But in the case of WrittenHouse—a tightly knit crew quick with the in-joke—it’s nearly impossible. The guys talk over one another, crack jokes that make no sense without proper context, make countless references to something that happened earlier, and seize a word or words and make it the night’s catch phrase (on this night: “DO BETTER!” and “BROWNED!”). On tape, the thing must’ve sounded like an absolute train wreck. In person, it was a ball.?

WrittenHouse are producers Chris Conway, Kush Shalimar and emcee Charlie K (with hypeman Somerville Sleeves thrown in for good measure during live shows)—four friends who have known each other for close to a decade or more, and, by natural extension, have an affable, easygoing relationship with one another. (Imagine your family at Thanksgiving, provided they actually get along.)?

Their positivity together as friends bleeds out in their work as a group: a breezy, jazzy A Tribe Called Quest-?inspired pastiche that’s best displayed on their newest mixtape Sunshine Philadelphia Vol. 2 , which is highly listenable and remarkably upbeat for Philadelphia-based hip-hop, which can often veer toward the gritty. ?

The unique tact of the group speaks to the way they came together: as seasoned vets who’d studied hip-hop and formed WrittenHouse with a game plan.?

Charlie K found major label success early in his career. It was everything it was supposed to be, but left him wanting.?

“In the studio it would be cats drinking, poppin’ bottles, champagne, girls; recording a song and leavin’ straight from the studio to Emerald City or whatever club, walkin’ over to the DJ, hand him some money to play a song, lil’ groupies in the club, and we’d take pictures with ’em, take ’em to the hotel. But the thing was: I didn’t like the music,” he says.?

He began stepping out on the label, rhyming on the side over beats produced by Kush, and basking in the freedom of expressing himself without the ever-?watching eye of label overlords who’d nitpick his words and take away their meaning. ?

“They wanted party music. They wanted commercial. They would give me the beats and I would write the songs and they’d say, ‘No, I don’t like this. This one’s too conscious. This one’s too wordy. But I like this one because it’s got a party feel, so rewrite it with party lyrics.’ And they’d give it back.”?

The label deal eventually fell apart as most label deals eventually do, and in addition to his work with Kush, Charlie began rapping over beats produced by Conway.?

Conway is a tech-savvy Internet fiend (he can talk Blu-ray downloads till he’s blue in the face) and Temple grad, who, through his work on the street team at Okay ?Player—the 10-plus years and going strong hip-hop site and message board created by the Roots—was able to attend loads of free shows. “Mos Def, the Roots, Talib Kweli, the Spitkicker tour with KRS-One and De La Soul,” he ticks them off. ?

At the same time, Conway began immersing himself in production on his laptop, coming home inspired from, say, a Dilated Peoples show, and staying up all night making beats—sometimes as many as 40 per week. ?

“If they used some sample from an obscure saxophone player, I would download his whole discography and just go through it like, ‘Okay, I’ll just take bits and pieces,’” says Conway. “Not what they used, but bits and pieces of his other dope stuff and just start knockin’ it out.” ?

Conway noticed the hip-hop shows he actually enjoyed seldom suffered the ills of the hip-hop shows he didn’t—the late start times, the long, momentum-killing pauses between songs.?

“The part in every hip-hop show I hate: ‘DJ, put it on track two! Nah. Nah. Track two. That’s track four!’ And then you’d stand there and wait for them to get it right. With these guys, it’s always hittin’ hittin’ hittin’,” Conway laughs.?

“I hate ‘rapping-over-a-CD’ shows. And if the CD skips? Forget about it,” Kush laughs.?

“The worst!” Charlie K laughs.?

Always laughing, these three.? - Philadelphia Weekly

The Wu-Tang Clan has an undeniable legacy, and a major factor in that is their live shows. With millions of records sold worldwide, countless classic albums and the most rabid fan base in hip hop, each concert tends to be an unforgettable event. The December 19th, 2008 show at the Trocadero Theatre only added to this legacy, as well as the reputation of their hard to please crowds.

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The Germantown based group WrittenHouse would be next up, and out of all the opening acts, they certainly seemed to get the biggest reaction from the crowd. Charlie K's lyrics with Chris Conway's MPC drumming and Kush Shalimar's keyboard playing translates extremely well live. Combined with a hype man who plays the role perfectly in Summerville Sleeves, WrittenHouse's set definitely impressed. Not to be outdone by Burke, WrittenHouse brought out their own special guests as they called emcees A.U.L.P.U.R.P.I.S. and Fatnice of 84 to the stage. After the two traded verses with Charlie K, 84 went into a song of their own before exiting the stage and letting WrittenHouse wrap up their set to cheers from the packed crowd. Anybody that's been to a Wu-Tang Clan show in Philly knows exactly what an accomplishment this is, and if they weren't quite sure, the next two acts would drive the point home. - Phrequency.com

"...Writtenhouse & [ft.] Eshon Burgundy’s “Way To Go” brings back the early ’90s hip-hop vibe, allowing you to choose between a head-bobbing lounge session or some smoothed out grinding." - Philadelphia CityPaper.net

Philadelphia rappers Writtenhouse were one of the stellar acts booked by the Troc this year. They opened for Wu Tang (who went on at 1:11 a.m.). I'd like to see the rest of the Philly hip-hop community resolve to drop the bullshit bravado and take some notes from Writtenhouse, who go about their business with a poetic vibe that's more De La Soul than DMX. - Philadelphia Weekly

Although Immortal Technique was the highlight of the massive underground hip hop show that took place at 941 Theatre on November 29th, each and every artist that took the stage provided the packed house with dope beats, lyrics and incredible energy in what was one of the best hip hop shows of the year.

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Not too be outdone by the assortment of talent that made the trip down 95 from New York, Philly got it's chance to shine when the three man group Writtenhouse took the stage. The group has quickly gained recognition throughout the city and surrounding area for an amazing stage show that combines raw emceeing from Charlie K. with live keyboards and drums from Kush Shalimar and Chris Conway, respectively. The group provided one of the best performances of the night, bringing the the energy level noticeably higher. - Phrequency.com