Charles Hamilton Fader Story

“My main focus is free music, and the reason why is water isn’t free. What’s more natural than water? Music,” he says. Then there are Crash Landed and Outside Looking, two mixtapes full of Hamilton’s quirky samples and conversational rap style. He programs music from Sonic the Hedgehog video games and mines tragic pop culture nostalgia, laying them out like worn mattresses for his own back-alley, stream of consciousness gymnastics. On “Stutter,” he raps over a looped bridge of Vince Guaraldi’s “Linus and Lucy,” singing, P-P-People always sayin, Charles you can’t sell/ Lyrically, you are a nuisance, but you can’t tell/ And I wanna beat they ass till my two hands swell/ Yea hit em up style, like Blu Cantrell. On “Rockstar Girl,” he sings along to The Offspring’s “Self-Esteem,” barely looping the opening riff while he airs out the lameness of star-crossed love. When Hamilton raps, there’s a closely manicured arrogance. It’s like he’s doing you a favor by letting you hear what goes on in his brain. On the songs where he sings, his voice drags kind of hopelessly like a detached Kurt Cobain, minus the range. “All the emotions that I put in the music that you might not hear in my voice, you have to find in the words. And sometimes you can hear it in the voice, I can’t fight it,” he says.

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