Known for his tricky rhyme schemes and clever lyricism, the steady flowing Ash Roth has been a staple in the rap game since "I Love College" in He's also worked on full projects with producers Nottz and Don Cannon. Em mentioned Roth on "Asshole", but Roth came away with no hard feelings, and rather said that he "…thought it was pretty amazing". He also released the second instalment in his The GreenHouse Effect mixtape series, and is expected to drop his second studio-album Retro Hash in early Stay tuned.
Asher Roth. Follow About Asher Roth. Facts Only. He has Jewish roots, but does not consider himself Jewish despite his "Jewish-sounding" name. Like many artists, he got his start on MySpace. Asher Roth is a Leo. Asher Roth 's new track is called "Oops" but the Philadelphia rapper isn't apologizing for having some fun.
Partnering with D. Asher Roth, 'Parties at the Disco' Feat. He says, the song is "too good to not share the full version. On "Oops" Roth is having a good time as he manages to reference the Lion King , shout out Lykke Li and offer up etiquette lessons all in the same goofy verse. Listen to it here:. To say Roth has been busy seems like an understatement when the "College" rapper explains what he's been up to lately.
You mentioned the album breathes well. I talk about breathing right off the jump. I get stressed out. Some of the things I use when I get stressed out are breaths. Hopefully, this music allows people to sit down, not pace around, and just take a breather. Hopefully, this music is a time out. Not for nothing, I have stress from what people pegged me as from my earlier stuff, 10, 12 years ago.
Hopefully, other people listen to it and feel like they can do the same thing. I am happy—thank you. A lot of older people in my life remind me happiness is a mindset that takes a lot of work… A lot of us are going through it. You see it with these alarming statistics about mental health and how important it is for us to be with each other.
We need each other. Listen to Asher Roth on Audiomack. Asher Roth gets real about moving home, helping others and finding happiness. Best Of. My brains are not even there. These kids are on a completely different frequency. And I respect it, I do. I remember when I was going independent and really taking that route of, I'm going to do this on my own. So Asleep in the Bread Aisle was '09, after that I really didn't get much help. I was living in New York--you guys are in New York, right?
Int: Yeah, where were you? It was rad. It was great, but it just wasn't home. I had fun but I was living this kind of-- not my life. I have a lot of love for New York, I have family there, my sister. Int: You grew up in Pennsylvania right? Roth: Yeah, so I'm back in Philadelphia right now. Did the runaround, and New York was such an interesting chapter for me, it was again one of those social intelligence things where I didn't have the grind, real life of New York.
Like if you grow up there, and fighting the fight of making something from nothing, and riding the subway, and being an adult by the time you're fourteen, you know? But I did get to see what their relationship with money and New York was.
And behind that curtain of what money can do. It's interesting because it's the same thing as the music business, it's so driven by money and power and stature and not actually music, so I learned that underbelly stuff, not through the evils of New York, but through the reality of it.
Int: If you think of capitalism, and any critiques you may have of it, or just the realities of it, a farmer dealing their crop, you know. That's magnified to the umpteenth scale in New York.
It has this mystique in our culture, and the world--and I did grow up here--it's kind of shocking to leave, and everyone has some idea of where you're from. Roth: Can I ask you about--I don't want to get political here, but what were your observations of the mood of our generation?
We're talking about the kids that might not necessarily be involved, even the kids when I was a teenager, somebody who is self absorbed, not even interested in politics. I think Barack Obama, maybe even Geroge W. Bush, I was old enough to vote in those elections. What was the mood in New York? Now, pandemic and protests, you've got kids who are in the thick of it. Int: Well New York has been very hot. Very involved. People who have been doing organizing work in the city have been getting more attention, that they deserve this time.
What's interesting about this time in particular--like, the Bush era is still quite recent and that's what I grew up in before Obama, and there was kind of a disengagement almost from the East Coast. People being like, "Obama is our president, we can lean back and trust that the general vibe is good or whatever, that people are ok" that kind of superficial calm that Trump broke for a lot of people. I think it's a really long history leading up to this moment.
I grew up politically conscious, going to public school in New York you notice certain kids put into the gifted program verses kids who fall by the wayside over time, just because the government doesn't have time or the funding, people don't have the emotional bandwidth ultimately to take care of the community. In my generation, even younger, I see people taking on the work deferred by generations past. Even on a legal and emotional level. Roth: It's true. Everybody's a little bit right.
Kind of wild, so red and blue. There's so much that led up to right now Int: Even your music, I'm listening to it and the way that you're part of it.
Listening to it as a consumer in , versus who I was as a consumer in , and considering how that's fit into my life story, as a person can expect, and it's like you're talking about things men can't or shouldn't talk about.
Right now the number one song is WAP by Cardi B and Megan Thee Stallion, and that's important because you fit into that tradition too, in a post-genedered thing. It's like this post-racial thing, which was an idea I think people had in the Obama era that was almost real. Roth: That was on the Greenhouse Effect, Volume 2, on the sour patch kids remix. This is the post racial society. And you know, not for nothing, that was out of the conversation around me and hip hip too, and while I was sitting with Qtip, he thought it was so interesting, ok here's a white kid--and he got to know me off of some of these acapellas I was rapping in New York, sort of open mics, and he heard me do some of the just listen stuff, basically about equality, and it was like, there's never been a white dude who was allowed to speak the truth.
He was basically saying, white kids and rap music essentially always have to wear the clown mask. And here we are outside the Beasties, and it was funny recently watching the Beastie Boys documentary Spike Jones did in a theatre, and seeing what they went through as white kids in rap music. Imitating Run DMC and their voice and bringing in the punk and rock influences.
The conversation around me in , was this unapologetically white kid rap music. As much as the eminem comparisons were there, there still isn't this level of whiteness that had been portrayed in rap music. Int: That's what I loved about the Greenhouse Effect tapes. Seared Foie Gras. Those records were you rapping your ass over classic beats and just being unapologetic about who you are and how you fit into hip hip.
Roth: I wish I could always do that. Self-awareness is actually a tool. A way to navigate the world. That attitude I had in the early works, part of it gets sucked out of the albums, they're so conscious of songs.
Whereas my strength is not as a classically trained musician. I have serious imposter syndrome when it comes to going into the music industry, in terms of peers and the people I love, not so much in terms of the business of music.
I speak their language almost more than a musicians language. Being a "tweener" do to speak, moving forward I want to help musicians tell their stories, because the ones I'm close with, they don't have similar level social intelligence or self awareness. They just want to make fucking music, you know?
And he business has kind of preyed on that you know? I've always cared, even on the first records. Int: Definitely. I think that something that for me growing up was inspiring about your wave, Kid Cudi, DOB, this group that was very empathic about people knowing things, that was the currency.
I want people to know that I know things and that it's important to know things to navigate the world. Roth: Yeah, that it's cool to know things. Int: exactly. Especially rap being a genre so motivated by righteousness and about leading by example, and being the emcee, the master of the ceremony.
It guided the path for me. Roth: Knowledge of self, for sure. It's funny because Pitchfork just roasted me again, it was just a hit piece, they roasted me for giving a shit. Not even about the music, just roasting me about having a little awareness about what's going on, pretending and acting like I've never done that before, just because I lIke College accidentally went double platinum, you know.
Int: Pretty much. You can tell reading reviews if a person writing them even knows the artist. Roth: My buddy called me, and I don't usually care about reviews, I'm pretty thick skinned, and said, what I thought was so cool about reading that is that people still don't know how to define you.
And I thought damn, that's kind of ill. Pros and cons. Int: People are used to this diary kind of thing from their artists. You listen to a record and you know what to expect, whereas you have a lot more exploring to do. You approach this idea of "for sale" differently, rather than hip hip which still has a weird place culturally within music, it's still innovating its form. That's on par with the structural experimentation you're hitting on this.
I can't wait to see what you do next. This album felt like a real fuck your expectations kind of moment. Roth: I appreciate your saying that. Those were some intentions I put into this. That's another beautiful thing about music. With this record, I wanted to set myself up to do it for another twenty years. Int: I see you hooked up with someone you haven't put out records with before, Rob, your producer.
What's the story there? Roth: I went back to pennsylvania. The Asher Roth story is objectively an interesting dory, because of the entry level and connotation, nobody wants to tell. When I tell people what on one they're like what the fuck, what a story. That run was for people like us, we were all growing up together through that, and now being an adult, so to speak, where your priorities do change.
My sister had a child, which was my catalyst to move home. I was in LA on the other side of the country, not fully committed, nothing keeping me there. I remember getting feedback after the record was done, Seared Foie Gras, that no one was interested, and that was my fuck all record.
I was very aware people are only on your team if you do certain things. Have a famous girlfriend. Write songs that are controversial in a way. I realized I'm not going to wear the clown mask, I'm going to grow, be human, music will be something I use, not something that uses me.
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