It was finals week.
It was crazy, man.
I had mad finals.
I was studying.
I have a crib on campus, so I was up there
studying.
I was like, “Yo we have to take a break.”
So, we was chilling and my break is just cooking
up.
I cooked up three beats.
I did this one first and then went to another
one and went to another joint.
Five minutes each.
Three days later I came down to New York.
My boy Christian called me, he had a studio
session.
I always cook up with him.
We was just cooking up, vibing, and I was
just taking a break.
Post came out of the studio session and we crossed paths.
I remember I met him in L.A. and I was like, “I met you in L.A.” And he was like,
“At Flight Club?”
I was like, “Yeah!”
And I was like, “Well, I’m a producer,
can I play you some beats?”
He was like, “Yeah let’s get weird.”
Me personally, I don’t like sending beats
out.
I’d rather be in the studio session with
the artist because you never know what vibe
you can create.
I feel like if I sent that beat to Post, it
probably wouldn’t have been touched or it
wouldn’t have been the same type of energy.
Put me in the room.
I am not trying to send no beats.
I started with the 808.
That was the first thing I started with.
I wanted something dark.
80 is a nice little tempo for that vibe.
It has a bounce, but you can still make something
dark, but have a bounce.
That was the 808.
And now I’m gonna show you how I added the
kick.
I try not to have the kick clash with the
808, but also punch through it.
I played the 808 and then clicked through
kicks and whichever punches out, then I EQ
it and compress it.
The hi hats.
Now that’s what brings all the swagger into
it.
I took the hi hat out where the snare comes
in, so there’s a little swag.
Then I brought the whole hi hat and the 808
down an octave.
Then the last snare, I brought it down also.
Louis is the engineer.
Post’s engineer, and close friend.
I had the melody and he beefed it up, adding
some piano and just making it more full.
I thought it was dope to also have background
melodies over that.
Then we add an outro.
That was the last thing that was added.
Post added his voice at the end.
That was dope.
I always wanted one of my records with that
type of vocal bend.
This was dope for me, this record, because
I was part of the whole process.
I was there at the initial session.
I was there on each edit that we did.
I feel like that’s also important because
then you have a bigger record.
I went to L.A. and I didn’t know if we was
really fully working on this record.
I didn’t know this song was going to be
the single.
But then Dre London, my manager and Post’s manager, he was like, “Yo this might be the single."
I was like…
And then I got paperwork.
That’s when I was like, “Oh.
So we’re going with this.”
Then it was out.
It really makes me want more.
It’s all about what you do next.
It’s funny.
I never thought I would feel that way, but
you have to.
It’s all about longevity.
It’s not about one and done.
Never that.
