Blanco

On the surface Bay Area rapper Blanco is every bit the beast and the beauty. As the co-founder of the industry’s most controversial independent label, he is the very definition of a young boss. Tried, proven and capable, he too leads the way as Guerrilla Entertainment’s main artist, demonstrating the professionalism and hustle it takes to earn a name in an unforgiving industry.

A product of his environment in and out of the studio, Blanco could rap his way out of a street fight, or instigate one just the same. Enigmatic as he might be, Blanco knows who he is and more importantly perhaps, who he is not.

At first sight and sound the Berkeley, California native might seem to subscribe to the trappings of the underworld; but beyond the flashing lights, his story is deeper and more truth telling than the average rapper.

“I’m not from the hood, so I can’t tell that story,” he admits without pause. “I wasn’t on street corners day and night; so I can’t tell that story. My story is a different perspective that hasn’t been told before. But it still has all those elements and it’s all true.”

With approximately 15 albums to his credit between collaborations, mixtapes and street albums, Blanco is as tested an emcee as there comes. In the last seven years since he dropped his first street tape, Got-Purp Volume 1, he’s embraced the opportunity to grow as an emcee, doing so by maintaining a wherewithal for social conditions and his own truth.

Nosebleed Music, while reckless, funny and disruptive, was released at the height of the hyphy movement in 2005. Thereafter, Blanco’s Way found the rapper more polished, effectively setting the stage for his forthcoming, American Psycho.

“If you look at that and compare it to my music now, you can see a big contrast,” he says. “I wouldn’t say it’s deep or anything, because I still make all types of music; but it’s just a more serious tone. It’s a lot realer now. The older stuff doesn’t have the same dedication or the same professionalism. It’s a different vibe.”

Having accomplished so much, Blanco remains his biggest critic, to the point he considers American Psycho his first “official” album. While he doesn’t yearn Executive Producer or Engineer credits, Blanco is very much the studio maestro. From mixing to mastering and everything in between, his sessions don’t end once he exits the booth.

Slated for a February 2011 release and packaged with a bonus street album entitled Blanco: Portrait Of A Serial Killer, American Psycho features an eclectic mix of talent from every corner of the country. Messy Marv, San Quinn, Nipsey Hussle, Freeway, Jacka, Redman and Erk The Jerk, are among the rappers featured, all of whom Blanco included because… he has the clout and ability to do so.

“I do big features because I can do big features,” he says. “I wanna make good music and make classic songs and if that means I need to do a feature, so be it. People are going to critique that, but I gotta do it either way.”

Whether he’s ultimately evaluated by skill or influence, Blanco is smart enough to know “judgment day” is imminent. With that in mind, American Psycho is armed with A-list producers such as Raw Smoov, Erk Tha Jerk, Sean T, Bedrock, Heatrock and Spain products, Cookin’ Soul.

An obvious spin of the 2000 silver screen success, the parallels between actor Christian Bale and rapper Blanco begin and end conceptually on either version of American Psycho.

“I liked how dude was living a double life. That’s kinda how I feel in general,” Blanco says, referencing a federal case he’s been fighting for three years. “When I go to court I have to dress a certain way. When I talk to my lawyers I have to act a certain way. Then when I go back to this lifestyle it’s completely different.”

Blanco comes out swinging on “Act 1,” taking aim at all the haters while simultaneously carrying the track from start to finish. Unapologetic and fearless, he breathes life into American Psycho with witty flows and a likable hook.

“My solo songs, I’m addressing the haters a lot,” he says. “What I’m trying to do in general with my whole style, my whole swag, is separate myself from everybody else.”

If his intention is to establish himself as an elite rapper, Blanco takes two steps forward by spitting alongside the industry’s most respected emcees.

The hypnotic “Dope Money,” featuring Jacka and The Boy Boy Young Mess (aka Messy Marv), is an unsurprising success, considering the trio’s triumph on the previously released Jonestown compilation. However, tracks such as “High Life,” featuring Freeway and the Dorrough, Gucci Mane assisted “Yeah,” work to accomplish Blanco’s goal of “making music for the masses.”

Likewise, “Smash Hard,” a playful, mid tempo ditty, features East Coast legend Redman - one Blanco just had to have. “It doesn’t necessarily match the rest of the album, but I like it a lot.”

Ironically, “Curtain Call,” the only other song Blanco spits b