It’s been a year and a half since your last project, Float… What happened during that time that allowed you to tackle this record from a fresh perspective?
Oh man, I realized I hated Float. It was this weird experimental period in my life. I had been making hip-hop and house music for so long. Basically every week. I was getting sick of the same workflow. For the longest time, I was a fan of house and chillwave, guys like Golden Panda and a few others. While listening to their production, I realized I wanted to create something like that. Going into this new creative route, with this new project, I didn’t want to repeat what I previously created. I wanted to create something simple, more like my roots. Nothing groundbreaking.
This week, you drop your new project, Thirty Days Past November. Talk to us how this project decided to come about?
A week or two before November. It was spontaneous. I didn’t want to keep putting out singles for another year. I needed to do something for me. I then had this idea of working on a beat a day. I’d spend a limited amount of time each day on a song. Maybe a couple hours or more. I thought it over with a few friends of mine and decided to embark on what is now Thirty Days Past November.
With creating a song a day, what did you learn about yourself?
I learned what’s the perfect amount of time, for me, in my workflow, to create a song that I’m happy with. Looking back on Float, I spent way too much time on each song. I spent an entire year putting together those five songs. Although the songs were complex, it didn’t work the way I wanted.
Going into this project, I started to think about how much time I need to create a song. At first, I thought maybe spending around 3-4 hours per song and calling it quits. After experimenting, I found out that that’s too little of time and that I needed 3-4 days to work on a song that I’m happy with. It’s not too short of time where I still want to add stuff and it’s not too long where the creative process is never ending and I just get sick of the song.
How did you then work on the selection process of cutting down 30 songs to 13?
I’m always too critical of my work. There are inevitably some songs that are just going to be bad. I didn’t need 30 songs. Nobody wants to listen to 30 songs. The goal was to get under 20 and by the time I cut them all down, I got to the point where I was fine with the tracklist and just wanted to put it out. Some songs are definitely better than others in my opinion and everyone that has listened to it so far has different opinions on what’s their favorite and least favorite. I think that’s a good sign.
After you drop this project, what’s on your radar in terms of production wise?
If it was an ideal world, I’d love to just make instrumentals. I genuinely enjoy doing that. I want to work with more singers and rappers. So many tracks with other people waiting to be released. They’re just always busy doing their own thing. If I end up taking another year before I work with some other people, I’m fine with that. For the longest time, I was working solo and I don’t have any issue with it. I’ve spent a lot of time learning that it’s really important that I make stuff that I enjoy. I don’t want to make music that’s meant for other people.
Can we expect any collaboration projects coming again?
Yeah, 100%. For the longest time, Femdot and I were working on another one. But you know, everybody gets busy. I’m always up to returning back to that. There are a few other artists I keep in touch with and I would love to do a full on project with.
“I get why people don’t fuck with instrumentals. just wish more people did” Why don’t people fuck with instrumentals?
I’d say in generality, the music landscape is very dependent on a face. You need a selling point and rappers/singers make great faces. That’s obviously notable in the mainstream, but in the underground world, it’s still pretty true. Not that there’s anything wrong with that, but, a lot of people prefer vocals on a track. You can have a barebone ass instrumental, but as long as it has some vocals on it, people can sing/rap along to it. At the end of the day, it all comes down to the vocals. And then there are people who genuinely don’t want to listen to just instruments.
Madlib, Exile, Mndsgn, and Pepe Bradock.
Favorite thing about being a producer?
The moment when you have a solid foundation going for a beat or a song and you genuinely vibe with it. That’s a special moment for me.
Favorite artist you’ve worked with?
I’d say Femdot.
Favorite song you’ve released?
Honestly, this might sound corny, but I’d have to say my Timmy Turner remix. I think that was one of my strongest beats because I love incorporating hip-hop and house music.
Favorite song you’ve heard this past week?
Eddie Henderson – Beyond Forever.