![]() ![]() Nobody could have foreseen what I was gonna end up doing. I've thrown them for a fucking loop over these years, a lot of them are fans from many, many years ago. I think that they have good intentions, even if sometimes they are a little overwhelming. But I engage with them a lot and I do appreciate them. I've been used to it though because I've been making content and reading comments for so long. It's very weird and dystopian for a human being to read that. At any moment, there's going to be debates about every song I've ever done, if it's better than that one, if I looked better in this video, ugly in this music video. There's no other person who could do that verse and do it right. Who is going to be the carbon monoxide? It has to be Danny Brown. I was like, this needs to sound abrasive, it needs to sound airy and fucked up and hallucinatory. So this ghost is so desperate - I'm not sure, it's up to interpretation, if he really does it or if it's an imagined scenario that he thinks about - he’s releasing a little bit of carbon monoxide into the home so that maybe he will be seen through the hallucinations. One common thing that happens when houses settle is that carbon monoxide leaks, and one thing that causes people to see ghosts a lot is when they have a carbon monoxide leak in their homes. But everything that he does gets written off as a house settling, like a door creaking. It's after this whole arc where he's really despondent and wants to make his presence known in any way. This is like one of the most desperate points of the album. It's about like an old house, the house is settling and the ghost is staying there and making it his own home. So I had written “house settling.” It's a play on words. How did your collaboration with Danny Brown come about? I'll give myself some agency and just feel like I'm doing something unique, because if what I'm doing sounds too much like something else, I won’t put it out or I just won't care about it. Sometimes I will pull tonalities and textures and then I'll put that into my own world, but a lot of times people will draw comparisons between me and stuff that I've never heard. ![]() I remind myself to stay in the world of the album. When I'm making an album, I'm very world-based. I'm less inspired by the whole artist thing and more so by specific feelings and places that a song will transport me to. I’m very song-oriented, so I'll just listen to a song and if there's one cool synth in it or one cool texture that they throw on it, it gets lodged into my head. The Microphones, shoegaze shit like Loveless, lots of Björk, King Krule, Slauson Malone, FKA Twigs, Sevdaliza. What were you listening to that informed this sound? You brought up The Microphones. I’ll readily admit I approached your music from a similar point of apprehension, and I was really surprised, especially when I listened to your old stuff. You asked about the perception stuff, and just from what I can tell, I think people are already giving it a fair chance and the people who aren't that say, “I'm not listening to that! He's a YouTuber,” get 10 people responding, “I know, I get it. So far, the response is absolutely insane. With From Me To You, I feel like that album was very important at opening up the fact that there could be a conversation. It's kind of a double-edged sword sometimes. They may make people want to dislike them more, but they also will tune in. I've never heard anything like this.” Sometimes the stigma can be used as a point of entry. With this album, and even with From Me To You, there was this thing of, “I know you may have this expectation but this song is really crazy. I know that there's a stigma and sometimes that's to my benefit. In a weird way, it's kind of a badge of honor to release something and have nobody cover it but it's still successful and builds a cult following. None of my shit fucking match, I'm still the best dressed, huh.I know there's a stigma placed on you because you're a YouTuber, and it must be frustrating to deal with not releasing music as part of a more traditional press cycle despite having such a following. I'll do everything I think you need me to In my own shoes I ain't giving no sympathy I just spent $3,000 dollars to clear up a sampleīut I get hits like I'm playing in little league Your grandma just bought my tape for her grandkids Twenty racks in the strip club I just thew that, huh what? Oprah all up in my dick but you knew thatįeel like Shek Wes like how that boy do that I fuck on that bitch in the back of the whip, yeah aye. Ride with the choppa, I hit with the bladeĪll of my soles look like a parade, what? ![]() they call you what? We never heard of you ![]() When I'm out in Palo Alto like the grateful dead, huh Who been on that shit, better take your guess Bitch type Q into motherfucking google and I really be the first thing that be showing up ![]()
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