Legendary producer Showbiz of Showbiz and A.G. and Diggin’ in the Crates fame recently linked back up with KRS-One to record Godsville, an album that gives listeners KRS’ raw self-awareness coupled with Showbiz’s growth in production post-hiatus. HipHopGame linked up with Showbiz to talk about Godsville, KRS’ suitcase, where he’s been, the Golden Era, how Kanye changed Showbiz’s perspective, production techniques and much more.
You and KRS did an album, Godsville, together. After all these years, why did you guys finally link up for a full-length?
It was just connecting in the studio and going through beats. He’s got a bunch of rhymes and we just decided to go ahead and do a full-length project. It just came about opening up to each other in the studio. That’s how that came about.
KRS carries his rhymes in a suitcase, right?
Yeah, like a little carry-on suitcase that you use when you’re going to the airport and going on a plane. It’s the little carry-on joint that you roll and you carry-on. That’s what he has for his rhymes. The first time we did four songs. The next time we did eight songs. He works like that.
You’ve worked together in the past on “Sound of the Police” and both come from similar perspectives. Is the chemistry pretty natural?
It’s probably because of where we come from, also. We’re kind of comfortable around each other. And he wants your opinion. He wants it to be a collective effort. It doesn’t have to be his way. He’s open to suggestions when we record.
Did you try to recreate some of the rawness of “Sound of the Police” on Godsville?
Oh, nah. We created that in 1993 and the whole era was different. When you’re dealing with music, it’s a timeless thing. I don’t think people can ever recapture an era of music. They can’t recreate the Motown era and what they were doing in the ‘60s. It’s the same thing with hip-hop. We can’t recreate the ‘90s. We can still keep it funky but it’s more than that. It was the whole time, what was going on in society at the time, what we was wearing and what we was talking. It was the whole mindset in hip-hop. We’ll never be able to recreate that.
Do you feel like the fans want you to recreate that vibe?
Definitely. Definitely. I definitely know that people want us to have that type of vibe or whatever the case is. And, you know, the more we work together, the more chemistry we’re going to have. A lot of people like the ‘90s sound and that whole era. It was beautiful. That’s why they call it the Golden Era. But as artists, we love to grow. Artists are inspired to do things they’ve never done before. That’s not to say you’re still not you. I still do beats the way I’ve done them, but I do them for different projects.
With this project, I wanted to do something different. Kris has been around for 20-something years and I wanted people to hear him on something different than expected with what Kris has done. This is a different vibe. This is outside of “Sound of the Police” but I think it’s in a good space and it’s getting a good response. But anytime you introduce something new from what you were doing, of course you’re going to get some feedback from people wanting you to do the same thing you were doing prior to this one.
Do you think the Golden Era is hip-hop’s strongest era?
For me to answer that, just because I was in that era, people would say I’m biased to it because I was in that era, but I definitely believe so. The reason why I believe that is because in that era, we were doing it for the love of music and everybody was original at that time and everybody was just trying to please each other and it was friendly competition on a level where “All right, you did it that way, I’m gonna do it this way.” The bar was high. The standards of hip-hop was high. If you was a bullshit artist, you wasn’t getting on or a deal or nothing.
I don’t know if there’s gonna be another era in hip-hop that’s going to outshine that and the reason why is because it’s a corporate billion-dollar business now. You can’t go nowhere without having hip-hop involved. There’s nothing on the radio or in the movies or in society without hip-hop in it. You can buy a car with rims on it. That’s hip-hop. We all over the globe now. It’s a billion-dollar industry right now and when you’re dealing with that amount of money, there’s lawyers and accountants at the top of the game. And there’s not music people.
Back in the ‘90s when I was in Polygram, there was the majority of music people there. They were replaced by lawyers and people who don’t care about the music part of it. When you take away the music people, the creative part of music is disappearing with it. I don’t think you’re ever going to get an era where people are going to be that creative and labels or whatever are going to get behind them and make it a big thing. I don’t think that’s gonna happen again. It’s gonna keep happening on an independent basis, but it’s never going to be as large as it was as when people were making music back then with Tribe and Brand Nubian was out. I don’t think that’s gonna happen again because it’s not about the music anymore. It’s all about recouping.
Does that hurt your motivation to create new music?
Yeah. In the beginning, it did. It hurt me a lot in the beginning. It took away my innocence when I was doing music because I didn’t get in the game to do those things. I wanted to impress the people that I was impressed by. When you get in the game and you have standards and there are things you have to do business-wise, because it is a business, it discourages you a little bit. You could see the fire everybody has as soon as they come in the game but once you get in it, it’s not the same. I definitely got discouraged. I don’t know about anything else. You know, we’re here for the music and the person that you partner up with is not in it for the music, so it’s not a marriage. I’m in it because I love the music and the other person is in it because they’re trying to get that money. Of course we all like that money, but if you make good music and market and promote it, the money’s always going to come. It’s always going to come. But it definitely plays a role in how you see music and it definitely discouraged me.
What brought you back?
I was gone for a minute because I had a lot of personal issues. I had a lot of family issues. My mother was sick and she passed away and I moved away to take care of her. It was things like that. I dealt with a lot of personal issues. That’s why I came back and hooked up with Preem. He gave me a room and a studio and I’m back just to do music. What really inspires me is that technology has it to where you can touch the world with your music real fast. We can have our own studios now instead of paying $3-400 an hour. We can do it and put out our records digitally and independent distributors can do it. I’m in a good space right now where I can let the world hear my music. Now I’m feeling better about it instead of going into business with people who aren’t really about this. They’re just coming in for the money aspect of it. Now I feel better about it and I love what I’m hearing. I’m not even hating what I’m hearing as far as these young dudes. I love it. It’s just different styles of hip-hop and I appreciate it as long as it’s good. If it’s wack it’s wack. But I appreciate hearing good music whether it comes from people of my era or whether it comes from the younger generation. I’m inspired by that and that makes me want to go ahead and do what I do.
What younger artists have caught your ear?
Well, I’m a producer first of all so I listen to more producers than rappers. I’m definitely rocking with Jake One and J.U.S.T.I.C.E. League. That’s where I’m at with it, those two. Rappers, of course I rock with Slaughterhouse. That’s number one right there. I like a lot of young dudes that’s out. Of course Fred the Godson. I rock with him. Some of the Golden Era dudes, I still rock with them. Of course The Lox. I just try to keep my ear fresh. I keep a young crew around me. I don’t want to sound outdated but I don’t want to sound like the young dudes because that’s not what I do best.
That has to be a difficult balance to find. How do you maintain what you’ve established while showing growth?
It’s very hard. I haven’t mastered it yet but I’m close to where I want to be. But I already have my chopped shit. I’m always going to do my chopped shit and my grimy Bronx shit. I’m gonna do that for certain projects. Of course I aspire to be like the people that we sample from. That’s what I aspire to be. I want to be creative like them. They ain’t have no limits. With us, we can chop a song and we can only do so many things with it because the foundation of it is coming from someone else’s mind. Like when you go in there from scratch and you’re dealing with live musicians, anything you think in your mind you can do. I aspire to do that and master music like that. It’s definitely a balance that has to be mastered. I’m not there yet but I feel I’m in a good space.
More specifically, how do you feel samples limit you?
After 20 years of being around samples, you’re limited when it comes to that. You can only fit samples certain ways. Don’t get me wrong, I’m going to always do it. I don’t think I’m ever going to be able to stop sampling completely. That’s crazy. But there are limits to it as opposed to just coming with it from scratch. There is.
What’s it been like working with live musicians so far?
I like musicians to play with the sample. I like that. It just makes it bigger and it makes it full. I have dealt with perfection a lot and I deal with perfection a lot when it comes to this music shit, especially with drum programming. A lot of people from the Golden Era, they just recreate what they did back then and me, as a fan as far as someone who's in the game, I would be disappointed too. I want someone to play a record now and play a record from the Golden Era and have it to sound just as big as what’s happening now. I don’t want it to sound like now. I want it to be just that big and that’s what musicians do for you. It’s the basslines and the samples and the rocking. That’s what musicians do for you. Just like “Hate It or Love It” with Game. The bass just made it real big. That’s what live musicians do. You can chop it up and have them come behind it and make it sound real big and up-to-date. The digital era is real big and solid. That’s what musicians do for me. Or just have them play a sample over again and if it sounds cheesy, don’t fuck with it but if it sounds good, let’s go with it and I’ll just keep the raw drums under it.
Has your approach to drums changed over the years?
Yeah. We’re going back to chopping drums the way we chopped them in the early ‘90s and I love that. I mean, sometimes you would just take a kick and a snare and you could play out whatever drum pattern you want. Sometimes you just take a kick and a snare and you play out whatever drum pattern you want. Right now I’m into taking a drum loop and chopping it into pieces and making it my own pattern. That’s what we did in the early days. I’m back to that and I love that. That’s what I came in the game doing and I think I was known for doing that basically before anybody ever touched it. Everybody was just looping before D.I. started coming in and chopping the drum patterns like that. That’s what we do best.
Do you feel like you can learn from the younger producers today?
Yeah. There’s a lot of things. I keep a young crew around me. They’re not the producers that’s popping but I listen to them and see how they do X, Y and Z. It’s each one, teach one and it was like that in the Golden Era. It was just like that. I show somebody something and they show me something. But the younger producers have a different style. It’s a little different style but it’s basically the same as far as the foundation but they have their way of doing it and we have our way of doing it. I try to stay with what I’m doing.
A lot of times there’s animosity between artists from the Golden Era and younger artists. It doesn’t sound like that’s the case with you.
Nah. Hell no! I love it and I embrace it! I love to see these little dudes doing their thing. These dudes could be doing anything else. Why would I be tight, man? I come from something that’s all special and we’re giving the world something with our music. Why would you be mad at that? Some of them take it for granted. I ain’t gonna say they don’t. Some of them don’t even have love for music like we do, but listen, man, this is music and everybody shines and we’re along for the ride. I’m still in a great position where I can still do music. Some guys from the Golden Era gave up on it and got nine-to-fives. I’m still able to rock this out and I’m loving it. These little dudes could be doing anything else out there and they’re rocking out and getting it popping. I just want to hear some good music. I ain't mad at them.
Has your equipment changed over the years?
Yes, sir! We had a max of 12 seconds to sample on the SP-12. We was real creative with it. That’s what made us creative. But right now I’m dealing with the 2500. I’m going to pull out the 12 and I’m going to pull out some discs and I’m going to throw a project out of beats that people never had. People say we gotta go back to that and I be laughing. That’s a good look too and I ain’t abandoning that. That would be a good look to because I am an artist.
You mentioned earlier that you wanted to give fans something different with Godsville. How did you take it there?
You have to leave your comfort zone. You have to! Dare to be great. It’s music. This shit is timeless. I can do this a million times. I’m not afraid. Why would I be afraid to put music again? The worst that can happen is that people don’t like it. Then I’ll do it again. And I’ll do it again. If the worst case scenario is that it don’t pop, you can do it again. So why not jump out of your comfort zone and do something? Dare to be great. They try to pigeonhole me all the time and man, that shit don’t matter! I’m an artist, man. If I thought like the average dude, I would be the average dude. I'm going to go ahead and push the envelope and if it works, it works. If it don’t, I’m gonna try again. It ain’t like I’m gonna fail. I’m gonna keep rocking out until I get this shit. That’s how I got on in the first place. I’m going to keep doing it until it’s popping. That’s just my mindset.
I don’t believe I can fail at a lot of things I try. I don’t think that way. That’s why I’m not intimidated by any of these young dudes coming up. I welcome them. It’s all love for me. I can’t stay there and call myself an artist and not try to push the envelope because that’s what I complain about with other people. I would be a hypocrite if I didn’t do it myself. I’ll be saying I listen to other people and it sounds like what they did back then and what else do they got.
What do you think will surprise fans the most with Godsville?
That I tried to do some other shit musically. KRS came in and he’s in his comfort zone because he just came and did what he did. He didn’t come in and say, “I’m trying to raise the bar.” He wanted to just put it down and I decided I was going to go left field with this shit. I was thinking people might not understand and that it was different from what people were used to. Whether it works or not, I love it. I’m not afraid to go ahead and push the bar. Why would I? Why would I? I went in there and did what I did. People are gonna see I used a lot of musicians on top of the samples. If I sampled drums, I’ll tell them to play this or whatever. People are going to hear that I shied away from samples on a couple of songs, but it’s still hip-hop and it’s still rocking.
At this point, do you prefer to do full-length projects or would you rather do singles and album placements?
Projects. Remember the days when there was one producer per album? Remember those days? That was the Golden Era. Remember EPMD produced their own shit? Tribe produced their own shit. Brand Nubian produced their own shit. Evil Dee produced Black Moon. RZA produced Wu-Tang. Nice N Smooth produced Nice N Smooth. They didn’t have 50 producers on the album and have it be all over the place. If you wanted to hear some hard shit and some crazy political shit, you go to Public Enemy. When you wanted to hear some cool shit, you go to Tribe. When you wanted to hear some killer shit, you go to N.W.A. Dre produced that! We had a lot of mixtures where whatever you felt like that day, you could go to certain artists and you could get that.
Now everybody has a compilation album. Of course I prefer the shit where there’s one artist and one producer and you get what you get because you know you get that from that person. It was like that prior to us. Look at all the great artists that came about. They all had one producer or produced themselves. Stevie Wonder didn’t sound nothing like Barry White and O’Jays didn’t sound nothing like The Temptations. They had their own lane and they did their own shit and they did their own thing. I love that.
Do you have any other projects in the works?
There’s nothing I want to speak on until it’s in concrete. I have a group that I’m bringing out called the BarBuryInz. I got them. That’s D-Flow, Milano and Gauge. That’s a project that I’m working on and it’s going to be one producer and a heavy sample base and real instruments with it. It’s going to be real nice. I want people to check for that when that comes out. That’s basically what I’m about, trying to do the one producer thing, two tops because I have producers that I’m trying to bring in the game and I want people to check them out. But the one producer era, I love that era, man, because it ain’t all over the place.
It’s good to hear Milano’s still rhyming. Where’s he been?
We just hooked back up. We had been out of touch. I was out of town for awhile so once I got back up, I hooked back up with him. He’s killing it right now. When you hear his stuff you will know what I’m talking about. He’s focused and the first joint I’m throwing out is definitely with him. It’s a beautiful thing, man. I love Milano. That’s my little brother.
You probably get this question a lot, but do you think you and A.G. will get back together?
Yeah, yeah, definitely. But you know, A’s growing with music and he’s experimenting. He wants to do new things and I applaud him for it and having the courage to do it. The same way I want to go in a different lane with this, so does he and I applaud him because it takes a lot of courage to do something that people don’t expect you to do. That’s why I always respect artists like Outkast and Cee-Lo. They’re always pushing the envelope. Even Kanye West. A is in that mode right now where he’s doing what he wants to do. I’m gonna let him rock with that but he knows he has to come back and we gotta do this Show and A.G. thing, you know?
It’d be great to hear you guys together again.
Yeah. Yeah. We gotta do that. You know, we always talk about it, but I want it to where when we come together, it’s worth it. I don’t like it when dudes come back together and they don’t have that flame no more. I don’t want to be one of those people. I want to work towards greatness. I gotta start doing a lot of projects because all it is is practice. The more you’re in the studio, the better you are. The more you’re doing this, the better you be. I want him to keep doing his projects and whatever and I’m going to keep doing mine and when it’s ready, it’s not even gonna be some shit that we have to speak about. I hope the world is prepared for it because it’s gonna be rocking.
What are some of your favorite memories from the Runaway Slave days?
You know what they say about Studio 54, how if you were there you don’t remember it? That’s how it was in that era. It was just going so fast. Everything was happening so fast. One day we’re regular dudes on the block and the next day we’re touring. And the album was just, I don’t know, it just happened so fast, even the mixing. Everything was happening so fast.
You dropped Street Talk a few years ago, which had a lot of your B-sides and forgotten songs all in one place. Do you have more gems like that in the stash?
That was what I just had laying around. That was the time when I was down south, actually. But yeah, I don’t have nothing like that lying around. I have some loose tracks in the computer but I don’t know if I’m going to make a project out of it. I’ll just have to see.
Were you happy with how Street Talk did commercially?
It didn’t get big promotion but it was okay to me. I'm going to tell you something crazy. I’ve seen a poll before where they had my best beats and the beat that they put for my best beat was one that I didn’t really even look at like that and it was “Spit” off the Full Scale album. I’m saying, “Wow.” Sometimes you may say, “This is okay” but it’s something that other people feel different about. There’s something you also feel strong about and the masses don’t feel strong about it. But there are songs on Street Talk that I loved. I liked a lot of the project but no love! (laughs) But at the time the company was closing down so I know what was taking place.
Party Arty definitely shined on Street Talk and unfortunately he never blew up like he should have. How do you remember Party Arty today?
Man, Arty was definitely one of the best dudes to watch rhyming and one of the best dudes to listen to. I watched him rhyme because he did and album with me, like a year before he passed. I have it in the computer. I haven’t released it yet but I was listening to it the other day. With the BarBuryInz, he’s going to be on the hook of the first single. He had that fire, man, and he was just nice. I mean, I’m still in disbelief of him not being here. He was definitely one of the greatest that I was ever face-to-face with. He had that fire in him and he took this shit serious too.
What are your plans for Arty’s album?
Me and Premier are talking about how we’re going to remix the joints and put them out. We’re going to work something out with his family. It’s going to be me, Premier, A.G. and D-Flow. D-Flow was Arty’s partner in Ghetto Dwellas.
What did you think of the Big L project Return of the Devil’s Son?
Projects like that, I guess people wanted to still keep L out there. It was just about keeping him out there. I didn’t have no part of it. I guess that was someone in his family. I think it was his brother. Whatever his brother wants to do to support him is cool as long as it doesn’t harm me. His brother is pretty cool people. For me, projects like that I don’t really look forward to because you’ve heard everything already. It’s like a best of or a mixtape, something like that.
Buckwild told me a story about how Big L would keep a lot of his thoughts on Post-Its in a drawer and pull them out when he needed them. What did you see with L?
This is one thing that I learned about L. Last year I was with Kanye and he was in the studio and he did the same exact shit that Big L did his whole career. What this is is that L, all throughout the day, from the time he would wake up to the time he would go to sleep, it was like a tape recorder with him. Anything that anybody says, he’s putting it in a rhyme. If he’s listening to a comedian on TV and he says something that’s catchy, L’s going to put it in a rhyme. If he’s talking to a girl and she says something interesting, he’s putting it in a rhyme. He’s like a tape recorder throughout the day. Every day he wakes up, he’s like a tape recorder. Anything you say, he writes down and he says.
Recently, Kanye did the same exact shit. We told Kanye about that and someone said something and two seconds later he had that in a rhyme. That’s the same shit that L used to do. That was just crazy for someone to be conscious of them writing rhymes throughout the day. I don’t know if you understand what I’m trying to tell you. Any part of the day, you could be eating or whatever, he’s thinking about a rhyme from the time he wakes up to the time he goes to sleep. That’s why he’s that nice. Whatever happens throughout his day, he’s putting it in a rhyme if it’s catchy.
What were you doing with Kanye?
He played his album. He played his album and he was just getting our opinion on it and he was just listening to beats. Just studio shit.
What’s it like working with DJ Premier at HeadQCourterz?
Oh, it’s a beautiful thing. We’ll call each other and see if we’re going in for that day. We’ll order food together and sit in the lounge and talk shit and talk about the projects we’re working on. It’s a beautiful thing. We have a 20 year relationship and we’re back home. That’s where we started at. Premier’s at D&D from a remix I was doing for Finesse and I wanted him to do the scratches and he liked the mix and then he started working there, so it’s crazy that he actually bought the studio and then he gave me a room in there. It’s crazy how that shit turned out. Preem, he inspires me, man. He’s in there working and I gotta go in there and work and it’s a beautiful thing. We feed off each other.
Do you guys ever work with each other’s artists?
Hopefully I would do something with Nick Javas. I haven’t done nothing with NYGz yet but I’ve done something for Khaleel, his other artist. Preem is doing his own project with KRS so he didn’t do nothing on this. He’s saving it for his project, I guess. But he’s going to definitely be on this BarBuryInz project. But it’s no problem. Preem’s got my back 100%. I ain’t worried about that.
You mentioned you might release some of your older beats. What’s going on with that?
I’m releasing those all year round! Look out of that. I’m releasing all of that, the SP-12 stuff, the ‘90s stuff, all of that! It’s all sitting in the computer and I want people to hear it. The internet is a whole different lane right now. The digital world is a whole different lane. It costs me nothing to do that. Everything to gain, nothing to lose.
How hard would it be to bring the Diggin' in the Crates crew together for one song?
Wow. Close to impossible. (laughs) Close to impossible. I mean, you could if you throw all the egos aside and all of the pride aside. Is it worth it?
What’s the biggest hold-up from keeping that happening?
Egos and pride. That’s it. I don’t want to get into personal shit. Just egos and pride. Certain things people don’t want to do because of their image or certain shit. Egos and pride. I just want to work. Everybody feels their own way. Me and Finesse already know it’s not gonna happen.
How’s Lord Finesse doing?
He’s cooking something up right now. He felt the same way I felt about the game for awhile. It breaks a dude’s heart. He was in it for the love. We’re real hip-hop heads. I’m not someone who just got on it. I was DJing when I was 9. I was at the jams as a little kid and got my ass whipped for staying out late and listening to the music. I bought every record out. I knew every artist when I was DJing. It hurts Finesse because he’s a music head for real and it hurts him to see how shit turned out and how the game is and how it’s taking away your innocence because of the politics of the game. But right now he’s feeling good and he’s in a good space so he’s starting to work again. Every day I call him and he’s working. I talk to him every day. He’s my son’s godfather.
Do you feel like you’re appreciated for your talent today like you should be?
With me, I would look and I’m surprised because prior to the internet, I had no knowledge as far as how many people we affected and inspired by what we was doing. You would get that when people are at your shows and I thought that was just because they seen me. But when you’re online and you see how many people look at you the way they look at you, it throws you off. We weren’t as big as Wu-Tang so of course RZA is going to be on a different level because he’s a different artist. I’m not looking at it like that. The way I live life, I don’t look at something negative before a positive. I always look at something in a positive way before a negative. You gotta show me you’re a piece of shit before I treat you like a piece of shit.
When I look at other artists and they’re getting more shine than me, I don’t look at it in a negative way. I’m happy to be here. Coming from where I came from with the odds stacked against me and for me to still be here, I’m in a great space right now. I appreciate all of the love I get, even if it’s a little amount of love. If I get 1,000 hits on something, I'm happy that there’s 1,000 people checking for me. I don’t give a fuck. Other artists are bigger artists and a lot of the artists from the Golden Era know who started what style of music and as long as they know, it’s good enough for me. I don’t need the world to know. Certain artists know who they got they shit from. (laughs) They know who they got what from. Niggas know who started doing certain styles of music and chopping records and all of that. Everybody knows that. If you’re a real hip-hop head, all you gotta do is go back to the albums. Go back to Lord Finesse’s album and see what he did first.
I’m appreciated by my peers. They know who did what. As far as the masses, they may not know and they may not appreciate me like they do Dr. Dre. They may not know, but their top five producers know who got what from who and that’s good enough for me. Y’all dudes know!
How do you hear your influence in production today?
As far as this chopping shit, let’s just keep it real. I’m the unsung hero of this shit here! Before me, there was just nothing but looping. Straight up. Let’s take it back to Finesse’s first album. I showed people how to do that and it’s a good look that people showed me earlier. It’s each one, teach one. But if a dude didn’t get it directly from me, he got it from somebody who was fucking with me. And it’s still relevant today from 20 years earlier. People are still chopping the same way and I love it! That’s why I’m not even mad at the game.
I call people legends and people have different definitions of legends. My definition of a legend is a person who came in the game and he brought something with him that wasn’t there and that people started doing after him. What Nas did when Nas came in the game, there was no rhyming like him before him, but they was rhyming like him after him. Biggie and ‘Pac, you see what they was doing? Shit before them and after them…That’s who I call legends. A good artist is a good artist. They can make good music, but someone that I call special is someone that when they came in the game, they brought something with them that wasn’t in the game already. That separates them from everybody else.
What advice could you offer producers on chopping samples?
The main thing is never question yourself and always be fearless because at one point I lost that and honestly, the person who brought it back to my attention was Kanye because Kanye is the type of guy where you could be in the studio with him and he could play his songs and he don’t care if you’re bopping to his shit. He don’t care if you think his shit is wack. He’s rocking to it and he loves it. This attitude is like “This is the shit, you just don’t know it yet.”
And that type of fearless shit is what you need because you’re always going to have people who are not going to like what you’re doing. That’s gonna always be there. It’s not for everybody. The key to failure is trying to please everybody. You have to be fearless. If that shit is coming from your heart, you just gotta do it. And not just follow the trends and whatever’s trendy. That’s the only complaint that I have right now. Instead of going the opposite way with what people are doing, they’re doing something just because it’s hot. I just want to be fearless and make creative music. The more fearless you are, the more you’re able to put out whatever. But if you’re trying to sound like what’s hot at the moment, you’re just going to sound like evertytihng else that’s out at the moment. I want to hear music that makes my face scrunch up when I hear it like, ‘Ooh!’ That’s the shit I wanna hear! (laughs)