0:08

Pushkin. This

0:12

song Yonkers is the track that put Tyler the Creator

0:14

on the Map in two and eleven. It's

0:17

the second single from Goblin, his first solo

0:19

album. The song is stark, a sparse

0:21

beat with a strange staccato sound similar to the shrieking

0:24

Strings and Psycho. The song's lyrics

0:26

are outrageous. The black

0:28

and white video was equally controversial. It

0:30

opens with Tyler sitting on a stool in front of a

0:32

blank background, a cockroach passing between

0:35

his hands. It ends with him standing on the same

0:37

stool. He opens a video with hanging himself.

0:40

A week after releasing the video, Tyler and his

0:42

Odd Future crew were performing on Jimmy Fallon

0:44

with the Roots wearing ski masks. It's

0:47

still exciting to watch today, especially

0:50

if you're into youthful displays of rebellion like I am.

0:52

It's hard to believe something like this was actually

0:55

on network television. Eight

0:57

years, four albums, two TV shows, and one

0:59

successful clothing line later, Tyler's

1:01

spirit is still rebellious, only

1:04

it's showing in new and highly creative

1:06

ways. His new album Igor

1:08

isn't controversial, but it's an anomaly and

1:10

rap. Like most of his output, It's entirely

1:13

self produced, but unlike the other records, there's

1:15

hardly any rapping. Instead, Tyler sings

1:17

a lot, and he opens this record with a mostly

1:20

instrumental track that starts with a thirty

1:22

second synth note. Igor dresses

1:24

in bright and beautifully tailored suits and like Anna

1:26

win tour as a blonde bowl cut and dark sunglasses.

1:29

I really wasn't prepared for the sound of this record,

1:32

even after the last one, flower Boy, which was also pretty

1:34

ambitious when it first came out. But this might

1:36

just be the strangest and most beautiful Tyler

1:38

the Creator record yet. This

1:44

is Broken Record Season three Liner notes

1:46

for the Digital Age. I'm justin Richmond.

1:53

Rick Rubin spent three days in Italy this summer

1:55

with Tyler. At the end of the trip, they sat

1:57

down a Rick's living room and listened to a few songs

1:59

off the new album, analyzing each

2:01

one. They started with Eager Steam

2:04

instrumental opener you heard earlier, But first

2:06

they talked about the heat temperatures

2:08

across Europe. We're an all time high. I

2:11

finally got

2:13

a human level of sleep.

2:17

I was dying. The

2:19

night before was a hot night. It was I

2:21

was dripping wet at three am,

2:25

staring at a mosquito, kept

2:28

whispering I'm gonna get you. I know him.

2:30

We're cool now, this

2:33

is crazy. You

2:35

like it. We're in the woods.

2:37

For those that don't know, we're

2:39

in the middle of nowhere. It

2:43

is no uber, it is

2:45

no taxi. I have not

2:48

seen another person aside

2:51

from the people in this house. No TV.

2:53

Three days, no TV. I think it's

2:55

one downstairs. Don't

2:57

think it's ever been turned on. It's

3:00

no AC. But

3:03

I kind of like that in

3:05

this weird fetish

3:07

way

3:11

that said I really like being here. I

3:13

don't know, it's for me. It's like

3:16

a very good energy. Yeah,

3:18

it's not much to worry about. No,

3:21

like it's crazy. The first night I

3:24

was like, oh, oh, what the fuck

3:26

did I get into? Rick is

3:28

crazy? What the And

3:31

then I got some cookies and that

3:34

fan and everything was

3:36

okay. Talking

3:39

about music, when you were at Shango La

3:42

at the end of the project, you were kind of putting it

3:44

together the final stages. I remember

3:46

you telling me that the first song was gonna be

3:48

an instrumental, and

3:51

you had always had it as an instrumental, and

3:53

then you kind of came up with a hook

3:55

last minute

3:58

fell this one? And

4:01

how did the hook come about? I was with

4:04

Uzy little USI very was

4:06

just at the studio hanging. I'm working

4:08

on this and I

4:10

couldn't come up with words, but

4:13

I had this melody. So I'm in there playing

4:15

on the piano the melody and

4:17

then he

4:20

takes that melody. It just adds words

4:22

and sings it right, and I'm like, just add

4:25

it real quick, just lay that rough down for

4:27

me, because your voice sounds good doing it. And

4:29

that's the song. It's nothing

4:32

deep, so cool. I think that's

4:34

literally what it was. And I was like, that's all

4:36

I need. Thank you. I didn't even know that

4:39

was gonna make it. It just

4:41

worked out so perfectly, you

4:43

know what I mean? Absolutely? How important

4:45

of the words? I like beat

4:49

first, then melody,

4:52

and then lyrics. It's Amy Winehouse

4:54

songs, No Lie. She has a song called wake Up

4:56

Alone, and man,

4:58

I love that song for years. My

5:01

cousin bought that album when it came out, and

5:03

it wasn't up until maybe

5:07

two years ago, twenty seventeen, where I

5:09

realized what the lyrics were saying. Because

5:12

I love the beat, love the chords, and

5:15

I just love the melody and what

5:17

she was doing, but I never paid attention to

5:19

the lyrics. Yeah, I think everyone

5:21

listens to different things. First, I noticed

5:23

earlier downstairs when we were

5:25

playing the disco stuff a song

5:28

came in and he was like ooh,

5:30

and it was just drums. It

5:32

wasn't no chords, not a baseline,

5:35

nothing, And I was like, oh, he listens

5:37

to Grew first. He listens to

5:39

drums and grew first. And I just something

5:41

I picked up on and thought that was interesting. And me,

5:43

I love good

5:46

chords. Just it's

5:48

songs I have that are horrible

5:50

lyrically, like really bad,

5:52

but I just like the notes in the background.

5:55

So I listened to him and I love it. And

6:00

and this beat is hard, these drums and this based

6:02

on its great they messed together. And

6:04

then I listened to the flow or

6:06

the melody and the runs. Second,

6:09

that's what really makes me mel Then

6:12

I care about it's all

6:14

based on the sound. That everything

6:18

before you get to any sound is

6:20

way before it's for me personally,

6:23

that energy, that feeling, that sound,

6:26

that's that's who you say. The sound

6:28

of the lyrics mean more

6:30

to you than what it's actually saying. Yeah,

6:33

like jay Z for example, he

6:36

knows how to rap on a beat. He

6:38

knows how to hear a beat and say I

6:40

shouldn't yell on this, or I shouldn't

6:43

wrap like this on it. The way that

6:45

this feels. This is how my vocal

6:47

instrument could mesh on this

6:50

perfectly. Where it's some people

6:52

who hear a smooth beating

6:54

like I'm gonna fucking yell on it. I'm gonna do this. I'm

6:57

gonna because they're just more thinking of

6:59

saying and cool shit rather than making

7:02

a good song. And

7:04

that's how that's kind of

7:07

me. I

7:09

kind of focus on making a good song

7:12

with cool structure rather than like, oh

7:15

that verse was so even

7:18

though I don't get me wrong, I don't want to seem

7:20

like i'nna be a dismissive like care about

7:23

lyrics and word blah blah blah. But it's just number

7:25

three. It's just number three. Is

7:27

there any music or

7:29

artists you could think of that you've

7:32

heard or listened to because

7:34

of the lyrics? Yeah, you got people

7:36

like Eminem,

7:39

like Cassidy the rapper that

7:42

stuff that I'm like, I wonder what pockets

7:46

they're gonna wrap this in and what they're gonna say,

7:48

and the punchlines and things like that, because

7:51

Eminem was he

7:53

picked some of the worst beats ever, even

7:57

Ludicrous sometimes picked shitty beats,

7:59

but their energy

8:02

and their cool, witty lines

8:05

is what made the songs cool. So

8:07

they're an exception, you

8:09

know, so where jay Z picked great

8:12

beats. So that's what drew me in.

8:14

And then like, oh his voice sounds tied over

8:16

this. Oh that's what he's saying,

8:20

you know. So okay, next

8:22

one I'll play and then we talk

8:24

about it after. Incredible.

8:29

That shit is so good, it's incredible.

8:33

My favorite part is happens once.

8:35

It's when the harmony vocals do the

8:38

different It's

8:40

so beautiful, and

8:42

the restraint in that being

8:44

the best part and deciding I'm only gonna

8:47

have it that one time. Well, this album is

8:49

full of that because I just

8:51

made each song has those moments.

8:54

Oh that's my favorite part, and I'm like, yeah, it only comes

8:56

once, but right after that is and someone

8:58

else's a moment face. Even

9:03

even on the intro, the I

9:05

only have the choir come in once

9:09

behind him, and like, it's a lot of stuff

9:11

and I like shit like that. It's little details

9:13

that gets me off and

9:15

a lot of people don't listen to that stuff. A

9:18

lot of people. Man, if you don't got the if

9:20

you don't got the eight await the catchy hook, they're

9:22

off it. But it's so much magic throughout

9:25

the whole. I think even if people don't

9:28

hear it subconsciously,

9:31

it's something like something happens

9:33

and I tell I tell

9:35

fans like, hey, if you like it, and

9:37

you see me in person and you

9:39

know, I got a minute to say hi or whatever. I

9:42

want you to articulate what

9:45

you like about it. Don't just say I like it, No,

9:48

hone in on what you like about it,

9:50

because if you figure out specifically what

9:52

you like about something, that'll help

9:54

you understand other shit that you like

9:57

and then weed out the shit you don't help

10:00

you find other shit like that. Absolutely,

10:03

you remember how that one came about, Like how did

10:06

it work out? That diverse drops kind of in the middle

10:08

of the song and breaks down like that. I

10:12

remember right before I finish, and I was like,

10:14

I need something

10:18

to happen chord

10:20

wise, I'm gonna keep saying

10:22

I'd say chords so much it's

10:25

annoying, But that's

10:27

the shit that makes me lit.

10:29

Oxygen water

10:31

and chord progressions. It's fucking annoying.

10:35

But I was like, I need something to

10:37

take me there because the

10:39

song didn't have a bridge, so

10:42

I was like, I need to put something in the middle

10:44

somewhere that just goes there. And

10:47

I was like, fuck, the structure is already

10:49

perfect. Maybe I could take

10:51

one of those leaves and just fuck

10:54

it up real quick. And that's literally

10:56

what I did, and I yeah,

10:59

that's how it happened. It's the song

11:01

on the piano is easy. But I was just like, I'm

11:03

gonna have four chords that just feels like a waterfall

11:06

and then ramp it back to the original

11:09

progression. So those chords

11:11

are only moving around

11:14

in the middle of one of

11:16

the notes, if that

11:18

makes sense. Yeah, you're gonna show me on

11:21

the piano, so

11:23

why are you there? I feel right

11:34

there. That's

11:45

regular. And then I went and

12:00

it only happens once. Wow,

12:02

And that's why it feels so whoa.

12:05

It's so dramatic because most

12:07

of the it's mostly like this, it's

12:10

mostly just like regular

12:12

line. So it's mostly just

12:14

regular line. So me bringing that

12:16

out of nowhere, it just makes you say, oh, I

12:19

came. And then everything after

12:21

that's just icing on the cage. Yeah, we'll

12:24

be back with more Tyler the Creator after the

12:26

break. We're

12:31

back with more Tyler the Creator. Lyrics

12:34

came last. Yeah, I made the

12:36

skeleton of the beat, and

12:39

while I let it play, I paced in my room and kind of came

12:41

up with that. And I was like, damn, that's all I'm

12:43

gonna say is you make my earthquation. Don't

12:46

leave, it's my fault. That was it. And then in

12:48

the middle it was a piano solo. But

12:50

then I added Cardi on it because I just love his voice.

12:53

And yeah, it was the lyric related

12:56

something that was just going on in that moment.

12:58

Or it was earthquake. Oh

13:01

really corny enough. It was an earthquake, and

13:03

I was like, damn, I like earthquake,

13:06

earthquake. And I was like, oh, I say that with an

13:08

F and a queue instead of the thh

13:10

and the queue instead of earthquake,

13:13

I say earthquake. So I was like, huh,

13:15

And then I just started singing

13:17

that and you

13:19

make my earthquake, don't

13:22

leave, it's my fault because of the fault line

13:25

that earthquakes are on. Ah. So

13:27

yeah, and like you shake

13:29

me up, you be making me nervous

13:33

because when everything is

13:35

fucked up, I'm gonna need you when everything

13:37

comes crumbling or whatever whatever. So cool,

13:40

just simple, but yeah, so cool. It

13:46

started with the chords. You

13:49

wrote the chords first, and

13:51

then the beat came after. Yeah, yeah,

13:53

I just had those. It's

13:56

super simple, super

13:58

simple. It's a it's just it's just so that

14:00

I interpolated where

14:03

the guys like, I think I'm falling in love this time

14:05

of thing. It's for real. And I was like, man, these chords are He

14:08

made these really bullshit pop

14:10

chords that I will usually hate.

14:12

Yeah, sound cool. So I always had that in the back

14:15

on my head. And then I found this drum loop.

14:18

I was like, this is tight. It was only a second,

14:21

so I kind of fucked with that to make it a full

14:23

thing. And then I was like, oooh

14:27

that one melody that guy did. Those

14:30

chords were sick. So I figured those

14:32

chords and added them, and I was like, man, I also like his melody.

14:34

Fuck it. I'll just add it there just as a

14:36

placement. And then the full song came

14:39

and just was like, I'll just keep amazing. So did

14:42

the did you have the vocal?

14:45

The first vocal phrasing hook before

14:47

you ever had the beat. It came with the

14:49

piano pianos

14:51

I had, so I had the song

14:54

that I interpolated with the chords in that

14:56

hook phrasing. It was just a

14:59

song guy just already had and I liked

15:01

it and I was like, this is cool. Then when I looped

15:03

these drums and I was working on a beat and I was

15:05

adding chords, I was like, oh, you know it will be tight the

15:07

stuff from that one song. So then

15:09

that's when I see that. So I see

15:12

and they just want hand in hand and so

15:14

cool. When that happens, it's cool. I just wanted

15:17

to dance. My favorite part is to break down

15:19

in the middle. That bridge is so sane,

15:22

so good. That bridge is

15:24

insane, so beautiful, so

15:27

beautiful, and that's like number seven.

15:30

That's bridge seven. Bro. I have six

15:32

other versions because I was like, I need to perfect

15:35

this bridge. It's two other bridges with salons

15:37

on it and he singing back and forth and stuff.

15:39

But I was like it's not perfect, And

15:41

I was like, what do I want to do

15:44

again? What world is this? Where is this living?

15:46

Yes? I want to

15:48

be in studio fifty four dancing

15:51

of this, Yes, and I just want to hear these

15:53

chords. Oh, I just want to hear these

15:55

chords. I don't want to hear vocal,

15:59

so I stripped it. That's

16:01

why you have that, and it lets you

16:03

breathe. Yeah, it really.

16:05

It's spectacular when it comes in. Feel

16:09

so good. The

16:12

next one's like my favorite, like

16:16

my fucking favorite. I

16:19

love that so good.

16:24

My favorite part is the

16:27

again, the breakdown with the little

16:29

hook and the loud snaps

16:32

and then the beat, the new beat dropping after

16:34

it. It's just like living

16:36

and pretending. I

16:39

breathe a lot on this album, Yeah, because

16:41

of my like recording it, Like my asthma

16:44

flares up randomly, so a lot

16:46

of the things like I would

16:48

actually breathe on, and then

16:50

at some point I was like fuck it, I'm gonna just

16:52

breathe on a lot. So igor

16:55

steam. I

16:57

think this one, I breathe on New

17:00

Magic wand the end of What's Good like I

17:02

just made it a thing. But that

17:04

song, it's

17:06

like the epitome of like uh

17:10

I was in the mask off

17:12

section is incredible with

17:14

the rat but it still has the harmonies

17:16

under it. That's my favorite.

17:20

It's so and I'm oh

17:23

gosh, it's so and it also feels

17:25

like a vulnerable lyric in the

17:27

context of this a song

17:30

that doesn't feel like that at all. Yeah,

17:32

it's just really like gets like real,

17:34

like it feels like because a song feels

17:37

like running out, it's like it's

17:39

it's just some pop song, like it doesn't

17:42

have me until that part. It's like, oh no, this

17:44

song is about something

17:46

like it's it's like you're spine

17:50

and it gets emotional. Yeah,

17:53

and it's un completely unexpected

17:55

and I put the I reput the

17:58

vocals from the first part under

18:00

that just so oh

18:02

those vocals have meaning to them

18:04

too. It's yeah, all related. How

18:09

do you decide to do the fake out ending like

18:11

the stop and then the little breakdown

18:13

extra piece? Uh, it just needed I

18:15

just wanted some movement. I

18:17

just wanted some movement, and I wanted

18:20

to just have the roads just

18:22

by itself so good, and

18:25

I was like, I'll just bring the snaps here and

18:28

then because I wanted it to die before

18:30

those drums came in, and then drums so fucking

18:32

hard, really

18:34

interesting arrangement, like just the order of events

18:37

that happened in the song or bro it's

18:39

magic. Every five that it's something

18:41

new, even the car sound that

18:44

just goes through it here and there. It's like, I

18:47

don't know, just a little little kinks

18:49

that I like. We'll be back with more of

18:51

Rix Conversation with Tyler the Creator after

18:53

the break. We're

18:58

back with more of Rix Conversation with Tyler

19:00

the Creator in the current live

19:02

show do you play? Do

19:05

you mixing old songs with the new songs? Start

19:08

with the majority of this album

19:10

and that outfit wig and the

19:12

suit and stuff, and then I switched in there like

19:15

regular clothes for older

19:17

stuff, which is like flower Boy, Cherry, Bob Wolf

19:19

stuff, and then I

19:22

do like two or other

19:24

songs from this album at the end. It's

19:26

a weird. It's

19:28

figure outable, but I don't. I haven't figured

19:30

out yet how to perfect how

19:33

to do both, because I don't want to wear a wig

19:35

and a suit when I'm doing Ship from three

19:37

albums ago, you know, unless

19:40

you also don't want to do only

19:43

the new album yea, unless you change

19:45

the way you do the old material to suit

19:48

the new style. Yeah, And I've

19:50

thought of that, and I'm like, but this

19:54

world that I've built with this character

19:58

that don't want to say the music

20:01

doesn't match the shoes

20:03

I'm wearing. Yeah. Yeah, so I

20:05

was like, all, whatever, I'll just change it. But how

20:08

would the character

20:11

cover those songs if he was an

20:13

artist and he wanted to do it, would

20:15

take it would take away from those songs. That's the thing

20:17

I don't want to hate going to shows

20:20

where it's like, oh, they're kind of performing

20:22

the song I love, but they

20:24

want to be too creative, so oh,

20:27

they're singing it a cappella with a cowbell

20:29

and one guitar note.

20:33

It's really fun listening to this. I

20:35

love this album. It's good. It's

20:38

fucking good. It's also

20:40

the first album where I'm like really

20:42

like when people were like, hey, the album's great,

20:45

I know and thank you, and

20:49

it's not an ego thing. It's like, I'm

20:52

so proud of it. Yes, I put

20:54

in so much effort and I love

20:56

it and I know that it's good.

20:58

You didn't have the same relation and trip to flower Boy.

21:02

No. I think flower Boy is

21:04

good and it's my best work

21:06

thus far, just because it's an easy

21:09

listen but it's so it's

21:11

not born. It's just kind of tame to me and

21:15

too good. Yeah, it's

21:18

like of course you're gonna like it. It's

21:20

nothing abrasive, it's nothing too weird

21:22

about it. It's good songs and

21:24

stuff. But I still feel

21:26

like some of that stuff is a little niche,

21:30

a little bit just did you feel it at the

21:32

time or not at the time, a

21:34

little bit, Like I was happy people

21:36

loved it and stuff, but it

21:39

was missing a lot of little

21:42

things, Like it was mixed too clean

21:45

and not in a bad way. It's

21:47

supposed that I'm supposed to sound crisp

21:49

and clean, but like it

21:52

was missing my little tinks that

21:55

I'm like itching to do. And

21:57

I had to pull back and restrain myself

22:00

because this is what the album

22:02

was supposed to be. I love cinnamon,

22:04

but you can't put it on your spaghetti. Yes,

22:07

you know. So I made

22:09

that, And because of that, I think that's

22:11

why I made IGOR, because I was itching

22:14

for I

22:17

need this, I need distortion and an annoying

22:19

bass and pitching fucking this

22:22

is gonna come out of nowhere and all fucking change.

22:25

Put eighteen Bridges on one song like I

22:27

needed that, but still has

22:30

some of the musical growth

22:33

that we first saw on flower Boy. Yeah. Yeah,

22:35

it's because you don't you don't

22:38

go to you don't leave

22:40

LA and go to New

22:42

York and go back to LA with no knowledge.

22:45

No, now you know how to wear a jacket

22:47

because it was cold as fuck out there, And

22:50

now you apply that whenever

22:52

you gotta go jacket shopping, because you

22:54

went to New York and know how to wear a fucking jacket.

22:57

Now. Yes, So just because you

22:59

know, just because I you

23:02

know, flowerboys super clean, doesn't

23:05

mean that I can't get dirty and crash

23:07

a car into a fucking building. It's

23:09

just that now I kind of know which car

23:11

I could crash into a building, so I don't die. Yeah.

23:14

Great, it's

23:17

so funny here in the juxtaposition of

23:19

the beautiful,

23:22

melodious piano lines and

23:25

the lyrics and the please

23:27

don't shoot me down in the gunshots. Yeah,

23:30

such a good buoye base combination.

23:33

I love again.

23:35

I love the hard shit

23:38

pause, and I love the pretty shit.

23:41

Now we're just trying to mix it together, just make

23:44

it so much more interesting. Yeah, because

23:46

you don't know what side you're on. Yeah, So

23:48

the meshes like uh that one

23:50

also is the most traditional

23:54

rap structure

23:57

where it's got a lot of verseus. You know, it's got a lot

23:59

of verse words. Yes, this

24:02

is the it's in the middle too, So

24:04

it's like the that's the rapper

24:06

one, that's the that's

24:09

the listen to what I'm saying one. I'm

24:13

I'm saying words on there and it's all specific

24:15

and it's so that's why I so laid back,

24:18

because it's like I'm more just talking, like

24:20

observing that

24:22

that one, I'm just looking like it

24:24

sounds really also personal

24:27

and intimate and real. Yeah,

24:29

no, it doesn't sound like a performance. No the

24:34

uh oh you're faking your man oh, take

24:36

your hoodie off? Like it's every time I hear

24:38

this song, I think of the specific moments

24:41

of why I'm saying that. So it's

24:44

and that's why it's not a performance. It's

24:46

just just talking and

24:50

I think it's it's good. That's a good song.

24:52

How did that one come about? What do you do you remember about

24:54

the process? That was first? So that's

24:57

it was a song. I was listening to the

25:00

song that I've kind of dealt with before,

25:03

and I was like, man, I would do this differently.

25:06

I would loop this part because this is a sweet spot.

25:08

So I just looped it and

25:12

came just made my own new

25:14

song structure out of this other

25:16

song that I sampled from and kind

25:18

of built around it. Were you

25:20

sampling a song of your own or it's this

25:23

other song called

25:26

Bound that I sampled

25:28

it from that I like, I just had

25:32

added the rough you

25:34

some other fucking dangerous but

25:37

that was part of a verse and then I kind of just kept repeating

25:39

that and made it into the hook. Yeah,

25:43

when did you decide that this was going to

25:45

be the one that was going to have that

25:48

this was gonna be tell the rap

25:50

story, have something to say. Oh,

25:52

well, it wasn't deliberate. It's just that when I made the

25:54

beat I just end up rapping

25:57

on it like that because that's what vocally felt

25:59

right understood. And then the melodies

26:02

and stuff where

26:04

they are now is where I was like, this is where

26:06

it feels right. Don't shoot

26:08

me Dan. The boys a good like

26:13

and I kind of kept it at that. They didn't want to add anymore.

26:15

I was like, this is perfect, and it

26:17

was asking to rap on like

26:20

that song was asking for a verse.

26:23

Yeah, and it I think it has

26:25

so much more power because because

26:28

it's the we're in the middle of the album and it's

26:30

the first time we're hearing this

26:33

many words, it really

26:36

changes the way you hear it. You

26:38

know, if this was if this was

26:40

the sixth song of

26:42

six rap songs, yeah,

26:45

it wouldn't It wouldn't have much power. Yeah,

26:47

No, it's even and like this

26:50

album, like on

26:53

I think I'm doing this rap

26:55

but it's cool, and then I'll

26:58

rap in the middle of Running of Time

27:00

sort of, and then the real rap verse

27:03

doesn't come until the end of New Magic One.

27:05

It's a rap song, but the rap verse doesn't

27:07

come till the end. So when you finally

27:10

get to number seven and you get this full

27:12

rap performance,

27:17

not like perform like a real just rap

27:19

song, like base level

27:21

core hip hop, yea, it's

27:24

like, oh, this is nice, but it's still in

27:26

tune with the six songs before. It's

27:28

sonically absolutely,

27:30

it feels like it's when it comes

27:32

up in the project. There's no feeling

27:35

of what's this.

27:37

It feels completely intertwined

27:40

with the rest, and it's you get to

27:42

you get to breathe a bit and just nod your

27:44

head and like, yeah, I like it. Yeah,

27:47

me too. It's really

27:50

interesting to me that that you've

27:52

been making music as long as you have, and

27:55

it feels like it keeps getting

27:57

better and it's very

28:00

rare. Feels like so many

28:02

artists best work is

28:05

their first or first or second,

28:08

and then more often

28:10

than not, there's a decline and it

28:12

feels like listening to your work,

28:14

it's the opposite. And any

28:16

idea how or why that is the case

28:19

because I don't get stuck. I

28:22

like new shit. I get inspired

28:25

by stuff, and I

28:27

hate the word inspire, but I get

28:29

in this ship and I dive head first

28:31

into it like I am

28:35

if I had that cupcakeg Magnolia

28:37

bro and I went back every

28:40

like. I fall in love

28:42

with shit, whether it's a color palette

28:45

and a step like, I get

28:47

into it. And I think, because

28:49

me being so potent in something that's so

28:51

different from the last, that's

28:53

why you could differentiate my

28:55

albums or errors or the

28:58

way I was dressing at the time, or

29:01

the approach to music. And

29:04

I want to get better. Some

29:07

people think they know it all. I

29:09

want to get better. I've

29:11

yet to make my great

29:13

rap album like

29:16

rap, I'm still like, I got to relearn how

29:18

to rap. I'm teaching myself how to rap again,

29:21

because I don't think I'm that good at it.

29:23

That's not my favorite. What was the first

29:25

record that you sang on? The first

29:28

thing I sung on was Wolf

29:32

the intro. The

29:34

intro for Wolf was the first time. I

29:37

do you remember feeling either like

29:40

it felt dangerous because you hadn't

29:43

done it before, or that

29:45

you were particularly excited about it or

29:47

particularly inspired by something to make

29:50

you do it. Well, I've always wanted to sing,

29:52

but my voice doesn't

29:54

allow me to sing the way I want. And

29:57

everyone's like, oh, deep voice,

30:00

like you pitch it up as an excuse,

30:03

but I don't want to sing like Barry White or

30:05

fucking Johnny Cash or whoever

30:07

else had a deep voice. I don't want to sound like that.

30:09

That's not the tone of voice that

30:12

I want to put on the music

30:14

bad that I'm laying for it. So

30:17

it's something I always wanted to do, but I just never went

30:19

for it until I needed

30:22

vocals on songs. So

30:24

I would laid out refs for

30:26

people, and when they wouldn't

30:29

sing it or didn't work out, I would

30:31

be like, I like this idea so much

30:33

that I'm okay with putting it out like

30:37

this. I perfect it as much as I can, but I want

30:39

this out in the world. So

30:42

the intro to Wolf answer

30:46

off Wolf, that's number six forty

30:50

eight. I sung a bit campfire

30:56

things like that, like and it

30:58

felt great. It was cool ideas, and

31:01

I just kept doing it and kept doing

31:03

it because I loved it. I would trade

31:06

to be able to sing well over wrapping any

31:08

day. So good, thank you for this,

31:11

thank you for the music, thank

31:13

you for making great music. Thank

31:16

you, and you're welcome. It's

31:19

good. I'm happy that I

31:21

can put something out like this in

31:23

the climate right now and people are

31:26

responsive to it in a positive way,

31:29

and I love it. I

31:31

absolutely adore this album.

31:33

So when people are like, hey, what do you do?

31:36

I will give them this first. Yeah.

31:39

If I couldn't just say hey, I make stuff, they're

31:41

like, no, I need specifics, I would give them this.

31:44

Beautiful Thanks

31:49

to Tyler the Creator for hanging out with Rick in Italy

31:51

for a few days to talk about the album. Also

31:53

special thanks to Leonardo Beccafici aka

31:55

Fresco for engineering. On the

31:57

next episode, Bruce had them talks with Yola

32:00

about her new album walk Through Fire and being

32:02

produced by Dan Arbach of The Black Keys.

32:05

Broken record is produced with help from Jason Gambrell

32:08

and Mel Lavelle for Pushkin Industries. Visit

32:10

Broken Record podcast dot com for playlists

32:13

from every episode, and follow us on Instagram

32:15

at The Broken Record pod Our

32:17

theme music is by Kenny Beats. I'm Justin

32:19

Richard.