He’s running an acclaimed record label, resurrecting old weed strains, and releasing the best music of his career.
to make the artist feel like less of a focal point for our eyes than our ears.) woods was also in a good mood about the future of independent rap, revealing a brighter outlook than his new song “Year Zero” might suggest: “Kids, you and your friends gon’ have to start again / It’s nothing you can do with us, we’re fucked up / We’re fucked, poison everything we touch / Withered and died, burn it down with us inside.
That’s how I feel about the decade. It’s been a lot of coming outside and finding out what all broke since the last you checked on it. I feel like Kenny is a major factor. I think when you work with Kenny, who’s very melody-forward, your stuff gets a little more direct. I’m intrigued by the dynamic of someone who isn’t interested in the fame aspect of creativity and is now touring more than ever and making consistently focused art.
Getting recognized is a very rare event, unless it’s right outside of a venue, or I’m playing a show in a relatively small city in Australia, and I’m walking around with my hair dreads with Elucid, and somebody’s like, “Hey, can’t wait to see you guys.” There aren’t that many Black men there. This person is already coming to the show. Doesn’t take a lot to figure it out. But in general, there hasn’t been any complicating aspect, really.
This is a very judicious response. I see culture flourishing but no thanks to the climate. It’s always under duress, rap music. It’s always surviving in spite of other forces in the city. I feel good about the state of rap locally. I don’t feel good about the NYPD filming faces at the Drake concert at the Apollo.
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