Inside 'Strange Passengers': 'Eclectic' may be an overused term in today's rap marketplace... but in some cases it's warranted. From Horton's half-playful wordplay (see: 'The Why') to August's tripped-out excursions through jazz breaks, 'Strange Passengers' has it all. On 'Save the Brunettes' we hear from Horton's lighter side, as he launches a bleach-banning crusade across America. When compared to the subject matter splattered across 'The Author', it almost seems as if the listener is dealing with two different emcees. Behind the boards, August flexes his muscle like a champion on 'What I Know', before weaving in and out of a California summer on 'June, July, and...' While '3-Headed' finds the duo, along with guest Kalo at their peak of aggression, the album closes with 'Isabel Garcia', a hazy, percussion driven study in contrast. In a world of Hip Hop clichés, fads and monotony, 'Strange Passengers' stakes it's claim as a truly unique and complete record, a refreshing exception to the contemporary norm. Bio: Today they will spin a tale of a love gone wrong, in the vein of Slick Rick; cheer you up with sly humor a la Ludacris; and rock a raucous stage show to wrap the night like he was Blastmaster KRS-ONE himself. Then, along with the rest of us, they will wake up hung-over the next day, exhausted from the experience. Such is the versatility of Horton & August, committed to making quality and unique music, and treating performances like an essential element to the composition of a complete artist that so many musicians in contemporary culture neglect. They are a decidedly underground group, yet refuse to ignore the influence of a wide-range of Hip Hop perspectives and musical genres. Horton was raised in Madison, Wisconsin as a child with creativity, wit and uniqueness in his approach to life. These qualities could have manifested themselves in a variety of ways, but ultimately led him to the doorstep of Hip Hop culture. Now, growing up in Madison did not place him at the Mecca of Hip Hop culture by any means, yet as a result, he was forced to strive long and hard to find this exhilarating music that was just starting to reach national prominence. From P.E.'s 'It Takes a Nation of Millions to Hold Us Back' to Tribe's 'People's Instinctive Travels & The Paths of Rhythm.' From Ice Cube's 'Amerikkka's Most Wanted' to De La Soul's 'De La Soul Is Dead,' Horton was in the process of learning from some of the best the music had to offer, yet not limiting himself to any one type of the genre. Fast forward several years, after Horton had grown up with Hip Hop and gone on to college. His journey took him from Arizona, to Boston and back to Madison once again. This experience allowed him to not only experience the assorted personalities of each region of country, but gain a greater appreciation for Hip Hop culture on both coasts. Within this journey Horton would encounter a Hip Hop counterpart that would go on to greatly influence his future sound. Andy Kaufman a.k.a. August The Creep, formerly of the group He's Hers, was an accomplished producer and MC upon their meeting in Arizona. He helped spark the early musical creativity within Horton, yet they were eventually separated upon leaving college. August's travels led him to his native Connecticut, Boston and finally New Orleans. While continuing to make music, mostly focusing on the production aspect, August was displaced from his adopted home by Hurricane Katrina. Disenchanted and disheartened, August was among the minority that returned to New Orleans after the disaster. Known for his dark and layered production, a return to the ravaged city added to his perspective as an individual and musician. The result can be found in the production on 'Strange Passengers', the bulk of which is handled by August, as he weaves an exciting and versatile landscape. He even un-retires from rhyming on a couple of tracks to make his presence felt on the mic as well.