Archive for the ‘Interviews and Innerviews’ Category

Review Fix Exclusive: Drew Spence Talks ‘Force Six

October 17, 2019 Leave a comment
Force Six – Blades and all…

Review Fix chats with “Force Six, The Annihilators” creator Drew Spence, to find out what inspired the comic. Revealing what else he’s working on, Spence lets us know his career in comics is just beginning.

Review Fix: What inspired the look and feel of Force Six, The Annihilators?

Drew Spence: I started creating comics as a kid and was influenced by, well everything! I loved Sci-fi, fantasy and martial arts. I watched movies, read comics, played D&D [the Dungeons and Dragons tabletop game], video games and adventure books. The Annihilators switched genres for almost every story so, as an adult revisiting this comic, I needed a universe that could accommodate all those settings and angles and still make some kind of sense.

Review Fix: What about using CGI over traditional media? Where did that come from?

Spence: I would see these robots and figures in overseas catalogues, the toys and models and wanted that exact look for my art so I started scanning the pictures and turning them into comics. That started my experiments in photo manipulation. I did a good number of comics, but I still needed more control. I filmed a season of Mark of the Griffin (a live action web series) and used the still frames to make a comic.  I came across John Byrne’s Star Trek New Visions and realized the overall potential.

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Dealing with the Boring Parts of Your Comic

Dealing with the Boring Parts of Your Comic

Wild in the Fallout Shelter. Drew Spence, the creator of the Force Six and Killer Butterfly comic series, speaks on the ‘boring’ parts of your comic. There’s a desire to rush past the lulls and jump straight to the action. He speaks as a creative and suggests the pauses are necessary to prime the reader for the action – to give meaning to the melee.  The Panel previews are from Force Six season III episode 24 The Misused Muse. Don’t forget to subscribe and activate those notifications.

You can find the more technical webinars based on 3D and comic art at the Daz Store under the Digital Art Live Magazine vendor.

And read the digital comics, based on his creative vision.

Or follow The Dynamic Universe on social Media.

Don’t forget to subscribe to this channel and activate the notifications.

Twitter and Instagram @DynamicMusic
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Drew Spence interview in Digital Art Live Magazine

December 19, 2018 Leave a comment

DAL gives The Dynamic Universe a verse!

Digital Art Live magazine cover issue 35

Drew Spence, the creator of Force Six, The Annihilators and Killer Butterfly comic series is featured in Digital Art Live magazine’s 35th issue. Peep the full reads here. We start on page 34. Thank you, Digital Art Live.

DA Live is a stunning showcase of some of the best digital art in the sci-fi and fantasy genres beautifully presented in our new monthly magazine. It follows the same format as our previous publication 3D Art Direct.


Join us to discover stories of creativity in 2D and 3D digital art through our live webinars, magazine and podcast.

We specialise in promoting and interviewing digital artists in the sci-fi and fantasy genres to help inspire you on your creative journey.

Professional Comic Book Foundation Course

August 14, 2018 1 comment

Digital Art Live 2D – 3D Webinar


Join us for a special two part foundation set of webinars to assist you in producing your comic. These two webinars will give you a great overview to help you get started. Presented by Drew Spence, the creator of the Force Six Annihilators comic series.

This foundation comic creation course is perfect if you are wondering of HOW to get started with ideas, tools and general workflow. REGISTRATION PAGE 1…

PART 1 Planning and Plotting :

Sunday the 26th of August

Commences 20:00 BST (London)/15:00 EDT (New York)/12:00 PDT (Los Angeles)

Duration: 1.5-2 hours

Planning and plotting, before you start drawing and rendering.

– Steps to success at no (or minimal) cost.

– Doing it all yourself and the many hats of Writing and Illustrating – Overview and Vision Synopsis

– What will I be reading and experiencing?

Pitch Points and the one sentence elevator pitch Short story slices of life as episodes, issues and side quests. Long planner for what will happen if you get a full run?

– My Genre

– My Audience

– My research, my resources

PART 2 Story Telling and Sequential Art :

Sunday 2nd of September Commences 20:00 BST (London)/15:00 EDT (New York)/12:00 PDT (Los Angeles)

Duration: 1.5 -2 hours

Story telling and selling a story about sequential art

– Deconstructing the narrative.

– Reinventing the Wheel

– Templates, Libraries, Actions and Presets.

– Saving and archiving assets and notes (for location and regeneration)

– Time framing and real time versus creative time..

– Panels and Page planning.

The Three Cs of being an Artist

Bullet Points

The Three Cs of being an Artist

Three Cs of being an artist Drew Spence, the creator of the Force Six graphic comic and artist behind the Fallout Shelter music breaks down the three Cs of being an artist.


Bullet Points Force Six 02 Sins of the Pass

Force Six, The Annihilators Bullet Points

Episode 02 Sins of the Pass

Drew Spence, the creator of the Force Six, The Annihilators graphic comic does a Bullet Points look at the series.

They were a team of specialists assembled to bring order to a chaotic universe. Something went wrong when right became their final choice. See the transformation from Renegade outcasts to Legends. They are Force Six, The Annihilators. Story & art by Drew Spence.
Also available on comiXology and DriveThruComics

Order our Graphic Comics in Print!





Interview! ComicBookBin -Drew Spence

The ComicBookBin

title banner

Interview with Drew Spence

By Hervé St-Louis
Jul 26, 2017 – 22:27

The ComicBookBin connects with comic artist Drew Spence from The Dynamic Universe. His self-published lead title is Force Six, The Annihilators. It’s a mix of science fiction, fantasy and superhero action. He’s tackled the story-telling task with a mix of 3D art and photographic manipulation. We sit down and get a look at his creative process and hear his thoughts on graphic art and what’s really behind the render.


ComicBookBin: Hi Drew. I think that we have a good start for an interview here! (the interview started in the middle of a conversation!)


Interview? I’d better choose my words more carefully then.

Now that I’ve read the whole, thing, damn that’s wordy. Might have to make a part I and part II.

CBB: Tell me, how do you feel about 3D comics in the sense of the reaction that people have to them.

Well, it varies. I’ve heard all types of comments- how 3D is easier or is fake art or doesn’t make real comic books, etc. I take those kinds of statements as different than opinion-based reactions like “I prefer…” or “I dislike…” Someone is speaking as an authority and trying to convince me of an empirical truth whereas, the evidence actually points to the opposite. I draw too. Anyone can draw a comic. Anyone can color a page and anyone can throw some word bubbles across a panel and thus, ‘make a comic’. But what some like to do, is draw (no pun) from the greatest masters and legends of 2D work and compare that to the kid who just made his first 3D comic piece and go “See the difference?” It’s a silly exercise and your taste really needs no justification. Like what you like and support the work that you feel is meaningful no matter the chosen medium. If it speaks to you, listen. If it doesn’t, find the right conversation.


3D has established itself quite well in animation and even visual effects yet still has not made an important breakthrough in comics. Why do you think that is and how do you intend to change this?

A breakthrough is code-word for a big financial success after a big promotional campaign. That would require a book that doesn’t look like or work like traditional comics being pushed by the very same entities who’d have a lot to lose if something too different comes along and catches on. Until they have an engine in place, prepared to capitalize on a 3D trend, you won’t see any risk-taking or support from the major 2D players.

Established comics tend to have separate writers and artists, if not a whole team. The grass-roots3D is still so new and experimental, that for most, it’s still a one-creator show. When I look at many of the 3D books on offer, I find – either the graphics or the story has a challenge. So you have these wonderful illustrations doing uninteresting stuff or a great narrative hampered by the rough visuals. Somebody needs to get both parts right. And enough people need to make solid work so that it creates a wave, even if a single artist breaks first and everyone else follows.

All I can do is my part. I create a 3D comic to the best of my sensibilities and hope the readers enjoy it. I consider myself a storyteller first and illustrator second. I don’t want a book that is only worth your time because it looks cool or novel. But, we are telling stories in a very visual medium so I can’t have the limitations of my imagination or skill get in the way of the narrative.

CBB: Would you argue that 3D comics suffer from the same hyper realism fate as photo-comics?

The goal of my 3D work is not to fool you or show you ‘better looking images’. When still pictures serve as the foundation, you tend to lose the comic part. What’s a comic book- other than an exaggeration of a moment or event? Everything is pushed to its limits: fast is the fastest, strong is the strongest, evil is the most evil, etc. Hyper-real is the opposite. If the goal is to tell a fantastic story with extraordinary visuals, why would an artist choose the most faithful medium possible- a snapshot? It actually doesn’t make sense. An artist needs to control the visual punctuation. When and how do I underline? Where’s the ellipsis pause? How do I boldface and add punctuation marks? We know what to do in the bubbles, it’s important to control the volume and tone with the artwork as well.


And the opposite happens in the quiet moments. Can you capture a dynamic moment at rest? Sometimes, the inclusion of details is exactly what taps your emotion. The faithful representation of an idealized moment becomes that much more meaningful. Look at the work of comic legends John Byrne and Barry Windsor-Smith. So much happens when their characters are at rest. The weight, the posing, the heroes’ presence in a static backdrop. That’s where you need to understand the concepts of good photography along with all the tricks that come after. That’s hard to do in any photo-based engine without pre-planning or awareness.

CBB: Which 3D app do you use to render the shots?

DAZ STUDIO is the foundation. It is a free 3d rendering suite – backed by their online store, where you can purchase a massive variety of content for every genre and interest you can imagine. For comic enthusiasts, the look can be edited through shaders, which are basically filters to achieve every comic look you could want. There are morphs that can make characters look very Pixar-like or idealized like the  Marvel and DC superheroes.

For traditional artists, it’s used for anatomical reference and a drawing aide for perspective and composition. Some draw on top of the models and figures and sketch directly from the template. There are licenses for video game programmers and even some tools for animation.

The engine is really there for you to customize and you can get as deep as you want. Many digital artists do the photoreal stuff where you can’t tell if it’s CGI or Photoshop. You’ll see Daz at work for book covers, movie posters, story boards, but I make use of what it offers for comic illustration. You just need to remember Daz won’t make your artwork for you. It’s an incredibly powerful environment that places the tools in your hands, but you still need to learn the proper techniques and apply your creative talents. 3D is still not a shortcut for being an artist, it’s just a medium.

CBB: What’s your production process?

Working in 3D is more like film making where I create the characters. Dress them, make a set. Place them, do lighting and such, place a camera and snap a picture.

From there it’s all post-editing. And way after- assemble the book from all the artwork. I can work panel by panel or page by page. It’s all design decisions. My eye and taste is really what I lean on. I’m no graphic expert and I will always push and experiment. What does this do? How can I use this tool differently? What if I…

CBB: I’d like to know more about the current story that you are developing and how it fits in the greater picture of past or current work being developed by your team.


Force Six, The Annihilators is meant to combine all the things that I’m passionate about. That’s why I made the world so open-ended. Almost anything can happen. My story-telling style has the rules set in place, but we have lots of creative and visual freedom. I create many types of music so I added a soundtrack and I will be venturing into video and other 3D forms to continue telling stories.

Force Six, The Annihilators was something I started drawing back in 1984. Yep 1984 as a kid. I kept all my drawings and now, years later I’m redoing all the stories with very minor edits. In the beginning it was very silly and derivative of whatever I was into at the time. Over time, I kept adding more adult sensibilities and their world grew darker. This series is about fleshing it all out and telling the story from the beginning, well almost the beginning.

CBB: Anything else?

Yes, thank you for your time and thank you for all the readers and supporters for helping us spread the Annihilator graphic comic. We have some awesome stuff coming up, keep turning those pages.

Drew Spence is a graphic comic writer and illustrator from the United States. He creates under the title The Dynamic Universe. He is both interested in music and video and has created several works, including the Mark of the Griffin, both a graphic novel and web series. The instrumental group fallout Shelter provides the soundtrack for many of his releases. The band members are Domino grey, Dynamics Plus and Xodus Phoenix. He currently lives on Long Island, New York and produces his work from the aptly named Fallout Shelter studios, where he crafts crafty and clever comics using CGI and photorealistic image manipulation.

Purchase Issue #1 of Force Six, The Annihilators at Comixology.



Those who “dedicate their lives” to music

LukeCage (Mothership Collective) asks:

A message to ponder and reflect upon…no really….

Luke Cage is an Artist and Sound Designer and Producer and Musician who posted this on his FaceBook wall and I share it here.


Hey – so I was just thinking , those who “dedicate their lives” to music or to a specific cause , are some truly special individuals. Consider that when most people get their pay checks or money they but a new car / pay bills / and or take a vacation or some other activity in order to enjoy and make their money kinda work for themselves right? But people who dedicate their lives to music don’t exactly do that- They put all their money into something that is given to the general public for their entertainment . So when most people are planning their next trip to Cancun or wherever, the dedicated musician is planning on how to make what they do better so that people will enjoy their music more or have a better experience .


That’s some dope shit but if you think about that even further ; that in this day making it in the music industry is laughable … Because a person would have to be a child or a robot to fit the bill that the industry has established, as well as there is no real money in entertainment at all anymore at every level ( independent or Commercial) no real cash for shows , whole albums given away for free , uploads to whatever website that they pay to be on , all so that people will hopefully like what they do enough to have it played for more people and heard by even more . Quite the position to put oneself in. I see it as noble, some see it as stupid . But the facts remain that a society without music will not be a society for very long nor will it grow and expand. So music is essential to our lives here on earth like food really .


I don’t think people consider that when deciding on whether or not to buy their friends Cassette or CD for 10 bucks or to go to a free show or when they comment on a song uploaded or anything. It has become a trend in My world for those that do not posses the ability or are poor at making music to heavily criticize people’s endeavors… I just ask ; When was the last time you sank all of your money / time / spiritual energy on something for others to enjoy? … And would you ever do such a thing ?

Follow his music and ongoing adventures!

Read his interview in Producer’s Edge Magazine on PAGE 84

Dynamics Plus Interview with Sleeping Bag Studios

Rapper Dynamics Plus in studio

Dynamics Plus in the Fallout Shelter

Innerviews with Dynamics Plus

via Sleeping Bag Studios

Time to get REAL.  Dynamics Plus has been going his own route, doing things his own way and finding tremendous new ideas and ways to innovate through his music in a completely organic way.  I’ve been hooked on the dude and his creative rhymes since reviewing one of his latest albums here at SBS and we’ve gone on to show our support even further by spinning his videos on SBS Live This Week.  A man with a lot to say and a specific way of which he says it all…it was an extreme pleasure to be able to talk to Dynamics Plus and get a real sense of how he approaches the music-making process.  If you’ve had a look into him already, then you already know this guy is as close to a machine as a human being could possibly be in terms of manufacturing & making new music – he’s like a one-man factory that runs 24 hours a day, 7 days a week.  And if you were to ask me…that’s inspiring.

So check out what this talented artist has to say about his music, albums, life…it’s all here.  I wrote an interview that basically held him upside down & shook him for loose change and did my absolute best to get anything & everything to fall out of those pockets and into our interview here today.  Lots of insight, lots of incredible details and overall, a complete pleasure to talk to & supremely talented gentleman.  Enjoy!

– Jer @ SBS

Dynamics Plus – Interview

SBS: Big shout-out and thank-you to you Dynamics Plus, much appreciate you taking the time off the rhymes to talk it out with us all. For those people out there that haven’t heard your music yet, or haven’t read the recent review we did on your Dynamics Universe Vol. 9 album, tell us about your sound from your own perspective. What is it that you’re doing right now through music that is setting you apart clearly from the rest?

Dynamics Plus: I guess it’s where I choose to go with my music. I’m a sort of future-retro artist. Boom-bap to boom blip and then there’s the storytelling. No one has done that before. It’s the C.H.A.O.S. Legion and Battlestrux albums that tell a complete adventure in a universe far beyond a hood, but still metaphorically relevant to any listener’s experience. I call a lot of what I do experimental because I don’t have a mentor or predecessor to pull from. So much of rap and music, overall, is based on flipping what someone else is already doing. I don’t have that luxury. I can’t say “His album did well, so I’m going to do something like that.” Or “I’m going to take that style and flip it”. It’s uncharted territory and I’m learning as I go. All I got is my ear and what sounds right. I create without discipline or boundaries and feel out what works and what doesn’t.

SBS: You’ll have to forgive us…cause I know we just jumped on your train to catch a ride only to discover sir, that you’ve BEEN ridin…I mean, we reviewed volume NINE of The Dynamics Universe series…and after researching more, I find out we didn’t even jump on at the END of this train dude! Not only are there 8 previous volumes of course, but you’re already well on your way to the twelfth I believe? Incredible work ethic my friend…it’s truly unmatched. As a writer myself…the suggestion of volumes also suggests that there’s an overall tie-in between this entire body of work; would you say that’s correct here in regards to what you’ve done? Of course there’s an autobiographical element that comes along with any artist or band with longevity…but it seems to me that thematically you’ve chosen to go a certain direction long ago. So lay it all out for us…what are the real concepts driving the Dynamics Universe series and how does it all tie-in for us as listeners, but also yourself as an artist?

Dynamics Plus: I used to make lots of beats and at first I numbered the disks that saved the data as A then B then C and eventually ran through the alphabet and started using AA followed by BB. I never considered using numbers because I didn’t think I’d be making that much music. I began grouping beats into volumes- with names and themes and that made organizing my work easier. I stopped losing stuff. And so, when it came to collecting songs and records I planned for many albums in the future. I call it all The Dynamic Universe since it covers everything. I sketched out 20 + albums and have been pretty much following that guide. I have skipped around based on my inspiration and even the limits of the kind of music I am capable of creating. Much of my music was me trying to push the envelope and see what I could do expressively over abstract beats. The Rocket Science album is about turning the needle closer to the middle and making a solid introduction-like work. It’s my story-telling style used in a modern context.

SBS: Obviously from listening to your work for even a minute, anyone would understand there’s a heavy focus on the lyricism. The beats are incredible too brother, we’ll get to that I promise, but right now I want to know about the process for you. Like I said, we just reviewed Volume 9, I went to get a coffee, and now there are already THREE more volumes! I get that it might come to you quickly and all, but including refinement, editing, metering to the beats…how does it all come together so quickly? What you do takes an incredible amount of effort…or at least any mortal would think so! So truly man…HOW do you make all this happen so precisely and on-point?

Dynamics Plus: I’ve been doing it for a while now. It’s a system that I’ve been using for years. I start with a wide focus and narrow it as I go along. When I make music, I just wander off in whatever direction pulls me most. I don’t think ‘fire track’ or ‘club banga’ – I just create and leave everything flexible. After I’m done, I look back and decide what context that piece of music fits best. Trying too hard for an exact ending leads to the possibility of failure and disappointment. If it’s heavy and dark, it might end up in a Mark of the Griffin episode. If I don’t quite feel like rhyming over it, maybe as a Fallout Shelter instrumental. If it really pulls strings, it might become something to tell a story over. I have so many directions and angles, almost nothing goes to waste. I spend a great deal of time shifting tracks around and grouping them by vibe.

Mark of the Griffin Combo Soundtrack Artwork cover

Web series + graphic novel soundtrack

SBS: In contrast…now looking back at the other volumes and other work you’ve done…do you feel like you have ever rushed yourself too quickly? Are there moments that you might be able to hear on a track of yours that maybe we can’t, where you know you’d be able to hit it harder now than perhaps you did then?

Dynamics Plus: I try not to second guess and trust the Dynamics Plus that was around when certain decisions were made. Firstly, I try and set my bar at giddy. If I get excited and amped over something I created then I know it’s good because I really love it. Settling for ‘good enough’ always leaves room for regrets. Number one aspect is revisit. Always come back and reevaluate what something is. That way, several versions of ‘me’ take a look at something. It has to survive several mood swings and a judgment over time. That leads to number two which is age an idea or marinate. Let it sit and see if the feeling holds true. If months pass and I still lose my mind over an idea, then I know it’s a good one. I noticed that the songs I liked least on albums were always the last minute additions and impulsive changes. Things I was excited about in the moment, but after some time, my enthusiasm fades and a particular decision doesn’t hold up. That’s the consequence of a quick decision you didn’t take serious time to consider. Walk away and come back.

Music is probably the only area of my life where I have patience. I aim to allow growth and evolution over time. Sure, some tracks develop incredibly quickly and I have it all done in 6 minutes – others have taken 6 months to find that final signature element. I see beatsmiths bragging about how quickly they make beats and so much worry over ‘how many a day’. No one ever said “I love this beat because it was made so quickly” or “I can’t dig this cause the guy took too long to make it.” All that worry over the creative process only exposes the early relationship between the artist and his creative energies. You are driven to make, but understand very little about the true process driving you..

SBS: Personally…what is it inside of you that drives you to work at all this as relentlessly as you do? Long before you might have ever even decided you wanted to make music a career…there was something that connected you to the music that you couldn’t ignore…something that’s presumably still a part of what’s driving you to this day; what would you say that is?

Dynamics Plus: The answer that goes here is the WHY. It starts with the HOW, as artists struggle with technical concerns and learn their craft. Yes, you are learning how to do things. You are asking questions and everyone ahead of you is a source of knowledge. That’s followed by WHEN and the passion ignites and being creative is all you can think about. When I’m in my studio working, I fantasize about being out having fun, maybe being with a woman. I’m inspired by those thoughts. But, when I am out- sometimes having a great time, my spirit longs to be back alone, in my studio- creating.

WHERE is the obsession with the studio. Arranging things and acquiring perfect pieces. Every desire feels like a need- it’s the rush of the “Gear Lust”. It’s a painter thinking he needs every color at his fingertips before he can make a picture. It’s the hunt for the best synth, the best EQ, the best mixer for…blah, blah, blah. It’s focusing on creating a perfect space to create instead of setting aside space to create. Worrying about the feel of your studio over the feeling you get when you are in your studio. It’s a distraction that replaces productive motivation – it’s when you spend more time talking and thinking than doing.

WHAT is a good one. I see people say “I can make anything, what should I make?” That’s a person who is early in and has just discovered technical tendencies. Genres have guides, rhythm has rules, moods have methods, tempo tells the time and timing transmits tension. Awesome. Now that you have learned how to speak several languages find the one that is native to your origin. It’s usually the language you think in.

And the big WHY. Why leads us to ask all the other questions again and apply them to our innermost, truest motivation and desires. Why are you here? Is it internal or external? Adoration? Approval? Admiration? Love? Money? Over the years, for me, that needle has flicked back and forth as my priorities change. I can’t sit here and tell you what the right reasons are for anyone to be creating or making art, I can’t. I know when you are settled with your own answers, you feel you have the right to judge others. Once you reach the end of a journey, there’s a tendency to forget how little you knew during the trip.

It’s great to hope that I am compensated or rewarded or simply gain from my works. I find that satisfaction can spell the end of an endeavor. Why keep walking once you arrive? Getting what you want leads to that…stagnation. It’s hard to be hungry on a full stomach. Those maternal and material desires are good for the short-run, but I have only stayed inspired when I focus on the feeling my art gives me. Releasing a finished work gives me a feeling that nothing else has. It doesn’t require a lot from other people. It’s me playing that album over and over again. I am enjoying my work and that satisfaction pushes me to create further… and that answers the WHY.

SBS: Now…I compared you to a rapper I hold in very high-esteem, Gift Of Gab. I’m assuming you’ve got to be familiar with his work…I thought this comparison worked very well in terms of both flow, style and the amount of thought put into your lyrics, but maybe I’m crazy… You’re clearly a rapper at the top of his game RIGHT NOW…so I guess my question is; do you still idolize or look up to other rappers? Who are some artists out there that you’re able to draw inspiration from? Past or present, doesn’t matter, inspiration comes wherever it pops up right?

Dynamics Plus: I’m not a rap fan anymore. There was a time, a long time ago, when I would hear raps and be awed and ask “How did he do that? How did he come up with that?” I’d hear the music from an album and be shocked and amazed to the degree that it would influence me and give me ideas of what was possible. We’re going back to Public Enemy, De La Soul and Ultra Magnetic. But there comes a point when I reach uncharted territory and there’s no one left to learn what I do from – besides me. I build upon my own work and learn from my own example. It’s hard then, to look up to someone else when you understand the process and there really is no mystery. I can appreciate talent, I can respect accomplishments, but I’ll never be a fan for anyone who arrived after I did. And I been here a while as the Dynamics Plus.


SBS: Let’s take that a little further…cause I want to know about the inspiration behind “Skit Callus Interruptus.” Now…hopefully this ain’t too painful a memory to recall…but…well…is this just good writing and good humour – or is this based upon the horrors of a real life experience?

Dynamics Plus: [laughs] Yeah, man. I think we’ve all been there. Everyone’s talked to someone that was distracted in a rude way. The truth is, the sex talk was a little raunchier, but obviously it’s a clean skit on an album so… But you know, it happened again AFTER the album was already out and the girl already had the album. So I’m there telling her epic things about love and such and what I hope we might find together and there she go yelling at her kid! And I’m thinking she heard the album, she know this is a skit on there. How she straight acting it out? Is she clowning me on purpose cause it’s the exact same scenario. As a teaser, there’s a full Rocket Science remix album coming and this skit is revisited…sorta…

SBS: From what I’ve been able to read, listen to and research…the visual accompanying element of The Dynamics Universe is taken just as seriously as the music itself. For instance…the video for “Phase Shift” is well-shot, edited all pro, but at the end of the day I think what I love the most about it is that it’s still YOU. Everything I see here in this particular video, aside from the editing and perhaps your particular tinfoil-talents could be largely done DIY…and I think that’s seriously inspiring my friend. Not only to me, but to others I’m sure who can see that with a little innovation and a creative mind, you can pull off a rad video without dropping your entire future’s worth of savings into your video. To some degree, “Seek End Destroy Rocket Science,” fits that same description…but I gotta say, it’s the shots of you with those glasses and the mic-stand-contraption that make this all work for me so well! Enough of all my ranting though…What I want to know is; what’s important for you to have up onscreen in your videos? What sort of stuff do you consider to be ‘must-haves’ in the visual representations of your music?

Dynamics Plus: The visuals match the record. Nothing more disappointing than loving a song and the video is nowhere close to what you imagined in your head. Some stuff is beyond my reach for now so I’m growing my resources to get closer to my ultimate vision. I’m an underground rapper so videos were never really a big selling point for me. One day I just realized I didn’t have many videos of myself performing, I only graphically appear on album covers and mostly I’m a voice and not a sight. I discussed the idea with DJ friend Samuel M Wimbley and we set out to film a ton of videos. I write out an outline of what I see and he directs on the spot and adds that extra bit that takes it up a notch. He’s got that eye. I sent him the first edit of “Phase Shift” and he literally said I have two choices: stop here and have a video that doesn’t pop or re-shoot everything. It was tough to hear, but I’m learning to listen and the reason why everything can’t be DIY.

Seek End Destroy frame

Seeked and sought

“Seek End Destroy Rocket Science” was scary because we almost got in trouble. We were about to rush through a guarded gate in a panic, but I figured what did I have to lose? So I plainly explained why I had all this crazy gear in my trunk and why the weird suit and what my intentions for trespassing were and believe it or not, I was allowed to shoot under strict supervision. Oh man, I could go on about the Rocket Science videos forever. I loved creating them and plan to make a bunch more. My rhymes put images in your mind. You know, you see the story unfolding and I’d like to be able to match the sights to the sounds you already see.

SBS: Comment on the level of social-awareness we can find in your music. I can hear a ton, and I can hear a real leader in there that’s helping the masses ask a few questions that they should be. Do you take that aspect of your music as a…I dunno…like a form of responsibility? You know what I mean? I mean…I really appreciate an artist that truly has something to say like you do…but I always wonder if it’s just ‘what we write about’ or if it’s an inspired act that comes more from within…like something you HAVE to do because you have that platform to speak from and it ‘shouldn’t go to waste’ kind of thing? What makes it important for you to include that aspect of social commentary and opinion in the music of Dynamics Plus?

Dynamics Plus: I hate preachy raps. I just do. I always think who is this guy to be telling me this? Oh great another gem of wisdom from any-hood USA. I like to see myself as an example beyond the music. Ask yourself what type of cat makes this stuff? “Dash the Cloud” is about a rebound romance that doesn’t go well. I wrote it from the perspective of taking a loss. I can take those same series of events and write an angry ode to horrible women across the world – include some choice name-calling and you have a different type of record. I’m multi-faceted and relationships are complicated. There’s no broad brush that fits the entire scope of the female gender. Why paint them the same way on every song? Doing that says more about me and my attitude and even my baggage than it does as learned wisdom about the sexes.

Dynamics Plus What Comes Up scene

“What Comes Up” is down with that.

SBS: Are there enough artists out there including real-topics, real opinions on what’s happening out there in the world today? I mean, obviously it’s not something everyone needs to sing or rap about, but I’m not so convinced myself that there shouldn’t be a large handful more of them out there right now when we need it… Or do you feel like social commentary is built-in and incorporated into all of our music in some way, shape or form, both consciously and unconsciously?

Dynamics Plus: You can’t have it both ways. You can’t say Hip Hop is a movement and improving young minds through a culture and then say the worst of rap is just harmless entertainment. Is a rap a reflection or a response? Are we exposing monsters or creating new ones by glorifying the current creature feature? I’m just saying it’s hard to create a gold statue, slap it in a temple, have people worship around it, but still say it’s not an idol.

SBS: What would you say your overall view of the world IS right now brother? We on a path to good times…or is it all getting worse out there?

Dynamics Plus: Depends on where you are. I’m in the US and really, it’s all about the loss of the middle class. We’re a generation doing worse than our parents. Getting married later, if at all, but still having the same troubles with family. We are even more focused on chasing money, but have no idea what to do with the money we do have – besides waste it on pleasure seeking and entertainment. We keep getting more and more tools to connect us as we drift farther and farther apart. It’s all about a continuous weak connection. Now, you can always know what I’m doing, but you don’t really care. Food is less food than it was. Television is really visual fast-food. All the bars are dropping. No pun. The lives of movie actors and athletes used to be the big distraction. Now we have 24-7 coverage of talent-less people. It’s crazy out here, right now.

SBS: You’ve definitely approached the music-scene with an incredible work-ethic through these constant album releases; I’m wondering how much pressure you put on yourself to keep as current as you do? It’s so easy to get lost in the shuffle as they say…do you find yourself ever making music simply as a result of that fact alone? Like as in, to keep at the forefront of the stereos and minds out there?

Dynamics Plus: Yep. Huge transition going on here. I’m an old school album guy. I think in terms of full projects. 18 songs. This is a disposable, streaming singles universe. I find it hard to adapt. I make it at the pace I’m inspired to, but the timing of releases, yeah that’s different. I’m having adventures, but I’d rather wait and share it all in a record than show you a picture of everything I’m doing- every single day. Man, I don’t love me that much and I do love me some me. [Laughs]

SBS: If you could send out a general message to the rest of the rap & hip-hop genre…what would it be? Is there anything you feel they need to know or advice you’ve got for the rest out there?

Dynamics Plus: I’m in no position to give advice, besides people don’t really listen anyway. Everyone has the answers. We all know what someone else should be doing, but can’t really see what’s holding us back in our own lives. There’s a comfort in worrying about other people’s problems. You forget your own and you can say ‘At least my stuff aint that bad’. Some people worry about problems overseas or don’t even consider what’s closer to home. Gossip, self-affirmations, memes…we know how to talk about people and forgot how to talk to people. If you’re scared to say it to their face… In that case I do say your judgment and opinion needs to match your advice. I also don’t repeat. You know what I think.

SBS: Studio-wise…beat-wise…how involved do you get? Doctor Atomics…where does he come into play and how much control do you have in the final outcome of any given album?

Dynamics Plus: Yeah, Doctor Atomics. Well that persona was born from my yelling adlibs on records. I fleshed it out for the Dynamic Universe Volume Six album Doctor Atomics and the Fortress of Solitude. He’s a boss character that pushes me to complete my work. It’s fantasy. Imagine working for a boss and all he demands you do is finish your albums. I write, record, mix and master all my music so I have total control. I have a few close friends and my Lenzmen that I bounce ideas to. Other than that, I have to trust that what I feel is correct. There’s a lot of things I don’t have and haven’t done because of that heavy focus on music. You can’t invent time, only use it wisely. I have to keep balance in mind. You sometimes need to live so that you have something to write songs about.

Drew Spence and his Zendrum MIDI controller in colder times

Drew Spence and his Zendrum MIDI controller in colder times

SBS: How much of the REAL Drew Spence is there in the music of Dynamics Plus? How do you separate the two? Was a division of these persona as necessary thing to be able to make your music?

Dynamics Plus: I shy away from the split-personalities. I don’t do that spirit takes me over thing. As I said earlier, I’m multi-faceted. I wear a suit and I wear jeans. I’m comfortable either way. I came up with the different identities so that supporters would have it easy when separating my works. You’d know what you were getting just by the name. Drew Spence is basically my everyday and when I launched Producer’s Edge magazine, I didn’t want my rap stuff showing up in every search engine so I created the pub as Drew Spence. Since I made a lot of digestible music, it made sense to leave it under that name and keep the abstract underground stuff as Dynamics Plus produced. So even then you’d hear a sonic separation of sensibilities.

I know you attract what you speak about. If I imagine myself and create a false face, rest assured it will become me eventually. Success is simply giving you the chance to become more of what you already are. You’d better be prepared to deal with that. If you have character flaws, they will be magnified. Your values will be tested and if you are incomplete, someone else will complete you with parts you might not benefit or recover from.

My scientist slant. Some people think ‘Oh he said he’s a scientist. That means he uses big words in his raps. He’s all imagination and nothing based on reality’. Actually, my studio, the place where I create my art is closer to a science lab. My experiments and scientific methods are based on an actual system. I’m actually closer to being a scientist than you’d imagine. This isn’t just a clever way to rhyme.

SBS: There also seems to be a wealth of talent found at the homepage of; go into that a little bit…like, Domino Grey for instance is featured all over the site…there’s also a graphic novel, Mark Of The Griffin being shown…how does all this come into play throughout The Dynamic Universe?

Dynamics Plus: There’s a wide range of projects. How do I umbrella it all? The Dynamic Universe encompasses all that I do. Domino Grey is my electronica and dance music slant. I’ve listened to house for decades, made some sometimes so why hide it? Why not indulge that passion too? Mark of the Griffin is my live action web series. You get more Drew Spence….music by Fallout Shelter, which is also me and I get to wrap a ton of my interests into one package. The only thing missing is my love of Sci-fi and I wish I could do something with that.

SBS: What about the LIVE aspect of Dynamics Plus? How often are you getting out there on stage with all of this recording going on? Honestly dude, you’ve barely left yourself time to shit, shower and shave from my calculations…are you able to get out and tour these songs at all?

Dynamics Plus: Unfortunately no. I’m more of a lab rat. I rarely perform, not to say I don’t enjoy it, but my world, right now, is heavily focused on production. I would love to put together a stage show that matches my vision. I’d have to grab Julie Taymor and ask for help with a C.H.A.O.S. Legion tour or show.

SBS: Okay…so if there ARE 12 or so of these volumes of The Dynamics Universe…how deep is this concept going to run for? Do you have a specific goal for the length of The Dynamics Universe? Like at album 30, you’ll drop the mic on stage for the final bar and peace out for good; or is The Dynamics Universe patterned out as infinitely as the universe in an astronomical sense? You gonna be rockin these beats as a 78-year old hip-hop artist & breakdance champion one day? How far do you see into the future of The Dynamics Universe…and what do you see happening as you get older?

Dynamics Plus: Oh you nut! I don’t know. There is no plan. There’s a disrespect for the rap genre like it’s little kids music. Music for teens and such and once you ‘grow up’ you should move on to other styles and only have throw-back days. I’m an artist and will remain so until I can no longer create worthy art. I am fine being older and rapping. I see no problem as long as my music reflects the proper level of maturity and focus. I am grown, I write grown-man bars. My videos are doing things that make sense. The video for “What Comes Up” is me at an amusement park and playing pool on a date. “Dash the Cloud” is me working in an office. Not the stuff a teen would really consider a fantasy, but it’s more of a grown man’s reality. So I say it’s up to us who get it a different way to push something unique out here.

SBS: We gotta do it brother! Gotta roll that promo-carpet out for the people out there…where do they go to find out more about what’s happening with Dynamics Plus in the future?

Dynamics Plus: My social links. Main website

@DynamicaMusic for my twitter and Instagram.

SBS: Just want to say a massive thank you to you once again, I really appreciate the time and effort you’ve put into answering all my rambling questions, and also the extreme amount of time and effort you’ve put into your music. At the risk of you and I tying up what’s undoubtedly a long interview already with even MORE length here at the end, I’d like to offer you, my fellow wordsmith, the open-floor here at the end as we do with all of our guests. Anything you want to say at all, the floor is yours.

Dynamics Plus: Not really much more. I gotta thank you for this interview. I rarely think this deeply about my own work so this is new. I hope it brings your readers value and provides insight for anyone that cares.

SBS: It’s been a slice and we’ll be seeing the video for “Phase Shift” pop onto an episode of SBS Live This Week very soon I believe…thank you for everything my friend!

Dynamics Plus: No, thank you, sir!

Original Link to Interview


Bandcamp Link

iTunes link to Rocket Science album

iTunes link to Rock It Science remix album

Physical copies on CdBaby

Dynamics Plus Interview – illuminati2g

Dynamics Plus

Rocket into the Science

Dynamics Plus  exclusive interview with I2G

I2G chilled with Dynamics Plus for an exclusive interview. We discuss his new album, Rocket Science, upcoming projects and much more so check it out.

I2G is here with Dynamics Plus, how’s it going?

Going good, just finished the album and promoting that, pretty excited about my newest release.

You just recently released your new single entitled Grace Notes. Tell me a little bit about the single and how it came together for you.

It was very sad because I wanted to address a couple things. Sometimes you see people doing other things or their reaction to the music and I tend to turn that into fuel for the next record.

There were some things said, and I turned that into the record and it evolved from there. I split in between the song itself and the video and it is more imaginative. It is basically me fighting myself in the video. Short and sweet, straight spitter.

Rocket Science album cover

Blast Off!

Your new project Rocket Science is out now. What are listeners in store for once they check out the project?

It’s a cross section of my music, so you will hear what I have been doing with my music for the last couple of years. Storytelling, which is a less Sci-Fi version of what I normally offer. Up tempo, relaxed music, introspection, and turned all that into a record that is enjoyable and is a nice listen. I did not want to stray too far away from my lyrical intensity, so if you choose to go below the surface, there is alot of messages inside of those lyrics.

Do you have another single or video picked out to come out next on the album?