ialive

For more than fifteen years, Philadelphia rapper and producer ialive has been quietly shaping his own corner of independent hip-hop, melding sharp wit, conceptual storytelling, and a collaborative spirit that keeps his work in constant evolution. His latest album, Quietism, arrives after a two-year break and a life-changing shift into fatherhood, marking his first project to feature multiple producers including Illingsworth, Garfunkle, The Expert, and Steel Tipped Dove. It’s a record that folds satire into serious subjects, navigates personal growth without chasing neat resolutions, and embraces the freedom of letting go. In conversation, ialive opens up about balancing late-night studio sessions with parenting, the creative liberation of collaboration, and why humor might just be the most underrated lens for addressing a world on fire.

NMR // Quietism came after a two-year break and becoming a parent. How did stepping into fatherhood reshape your creative process, the way you approach writing or time in the studio? And how did the quietist philosophy help you let go of needing resolution in your music? // ialive: Becoming a father for me was really about prioritizing tasks and time in a very real way. You almost expect a magical shift to happen when you become a parent, but there is no magic. You just need to become as efficient as possible. Especially if you have a creative pursuit. Because I work a full-time job, I dedicate 2 to 4 hours every night after everyone goes to sleep to get studio work done. People who know me personally know that I don’t sleep more than six hours a night. So in a way my process has become more focused out of necessity.

When i stumbled onto quietism, I was struggling with vision. I wanted to make music that was uptempo, and bright. I was tired of dark, moody music. I wanted to add humor and light. The world was (is) on fire but I didn’t want to write about it because I didn’t have anything to add that seemed helpful. Quietism as a philosophical theory let me off the hook. I could navigate my feelings freely without needing answers or solutions. 

NMR // As a fellow parent. I’ve noticed how much becoming a dad changes what stories hit home. Anything involving kids is suddenly harder to watch, and themes around parenting and presence feel way more personal. Has that shift in perspective changed what resonates with you emotionally, or how you experience other people’s music and your own? // ialive: I think there is a vague sense of maturity that permeates it all. Because of the responsibility you have to every single aspect of someone’s development, you tend to take yourself out of center. Maybe i dug a fraction deeper to write to a more general audience. I’m definitely still discovering. 

NMR // Your track Camden Beach imagines a climate-changed Philly with beaches, using humor to cut through the apathy on climate. Do you view satire as a survival skill in music? How do you balance humor with urgency when weighing serious topics like climate change? // ialive: I wouldn’t say it’s a survival skill, but rather a very specific angle to approach the music. 

I’m only just now developing this style of writing, but satire has become my favorite form of creative storytelling. It feels too obvious to stand on a hill and wave a flag with everything you believe in. The self-serious approach lacks awareness but too much humor becomes parody. I think satire ticks all those boxes for me without being heavy handed. You can explore an issue from any perspective and just present facts without needing holier than thou explanation or conclusion, which is way in line with quietist theory. Some of my favorite songs from decades past use satire and they have all aged beautifully. 

NMR // On I Made Peace with the Algorithm, you describe surrendering to AI and digital systems as a kind of tongue-in-cheek benefit. Do you really see space for harmony between human creativity and algorithmic influence, or should we remain cautious of losing the emotional core of music? // ialive: I think technology as a tool is dope. I think it should be accessible to all people to make life easier while improving our world. 

I think it’s laughable to imagine people phasing themselves out of art. In a sense, music has already lost its emotional core. Money has always gravitated towards sameness because innovation takes time and resources. But real artists are always there, fueling movements and scenes that propel us towards the future. Things that develop naturally and organically will always out perform phony trash. Wack is wack. When these technologies are used as tools, i think it increases creativity, connectivity and accessibility. It’s not black and white like most people make it out to be.

NMR // Vanishing Cream dives into depression with honesty, featuring voices from your tight circle of friends. Would you say collaborating in that way, plural voices, collective vulnerability, helped you move beyond isolation? What did it teach you about art as shared experience? // ialive: I’ve been a very collaborative creator for the better part of my career and early on realized that every collaboration pushed me into a new chamber of my own creativity. Brian Eno has a fantastic concept about the ‘scenius’ which I’ll paraphrase as individuals being part of a larger effort. We’re only as good as the community we belong to. I’d say that knowing who would serve the song best is key and being open to change is difficult but more rewarding than being a lone mad scientist. 

NMR // There’s a powerful resurgence in jazz-hop and boom bap, from the likes of Doechii and Saba to Little Simz. Have you felt tangible demand or renewed interest from listeners chasing back-to-roots hip-hop? How do Quietism and your deeper catalog map onto this wave? // ialive: It’s funny, i feel as much an outsider now as i did when i was making more experimental rap. It seems the trend in the underground right now is minimal, dark and serious. Where i am among my peers is so far off, but I’ve always been stoked to find someone making adjacent inspired music in tight circles. I do think it’s a great time to be involved in making thought provoking rap music and i think the interest is in full swing. I think we owe a good deal to Quelle, Woods, and Open Mike for bringing visibility to the larger idea of indierap. 

NMR // ‘Quietism’ marks your first album with multiple producers, Illingsworth, Garfunkle, The Expert, and Steel Tipped Dove, all helping mix the pot. How did letting go of your own production change the journey of making the record? Did it challenge or free your vision? // ialive: I could write a book here and I will do my best to keep it succinct but my production career and my songwriting career have almost led parallel lives. It takes me a long time to find a beat that resonates with me, so digging through hundreds of other peoples beats helped me turn ideas around quicker. 

I knew that I wanted to work with illingsworth and his work gave this project the core sound. Hands down my favorite producer. 

I’m truly privileged to get to work with all the producers involved – really some of the best to do it right now. I still make like 5 beats a week though, just not specifically for myself. 

NMR // In a streaming-dominated world, music is increasingly a “free resource” to consumers. What’s your take on the current streaming economy? Is it a necessary evil, a platform for discovery, or is it eroding value for artists like yourself? // ialive: Maybe id have more of a concrete opinion if music was my main income but i’ve seen some great discoveries happen due to streaming. Ive also discovered a ton of music i normally wouldn’t have. We do need a better baseline for sustaining musicians though. We place loads of cultural value on music and musicians but it does not equate when it comes to paying us. I think the pendulum will swing back at some point. We are a resourceful bunch. 

NMR // After 15 years of releases, is there a deep-cut or B-side from your early career you revisit now with new eyes, something that crystallized for you only in hindsight and might surprise listeners familiar only with ‘Quietism’? // ialive: My first record ‘The Age Of Reason’ had a few conceptual songs that were definitely seeds of what im doing now. Just way less refined. Check out the title track. I think i always wanted to craft these types of conceptual songs but needed to learn how to emcee, and work my way into it. 

NMR // You’ve supported Wave Generators live and engineered others’ work in your Infinite Order studio space. Does creating for yourself ever intersect with your mission to uplift others? How do you balance that supporting role with being in the spotlight? // ialive: It’s not always easy but i keep alot of lists and prioritize tasks. I often reward myself by making beats when i finish a mix or something administrative. But it’s all rewarding in its own way. I love playing a part In someone’s journey. Playing live with Wave Generators is like riding a tsunami. I truly love it. 

NMR // ‘Quietism’ feels like a full-circle moment, deeply personal and creatively expansive. What’s next now that it’s out in the world? Are you letting it breathe for a bit, or already onto the next idea or collaboration? // ialive: I’m extremely excited to perform the songs live and get back into a regular performing schedule. Some things are in the works for that currently. We’re going to follow it up with a remix project which should be making daylight very soon.

I’m knee deep in a project with Small Professor which is not necessarily a departure from Quietism but very different. Not sure the release schedule for that, but it’s picking up some steam.