How you format the interview style?

for the interviewer i put a right arrow right behind the text on where he's speaking.

double spaced it so where you can tell thugger is talking rn, so it doesn't merge with the interviewer's text

forgot to quote but oh well

look above what i said

s*** is heat and very creative

I gotta ask tho...that cover? how???????

deep searching, found many fire covers

it's amazing man. gj

guess i might as well drop my interview too.

@HalfBaked

can we diss other labels or artists on other labels

im tryna see it

finishing up hold on

we play with dirty sticks !!!

KTTMZ! UPDATE.

RIHANNA SPOTTED BY WILD LURKING DRIZZY
ENJOYS ISLAND VACATION . . . with Quincy Jones?

@HalfBaked @ovodante @otherotherbenz @justwantyandhi @Tyler

@THE_FILLMORE need 2 Neptune beats please

just release her onlyfans instead of an album

. . . if i could actually do that.

you think i would?

Knowing the amount of confidence it takes to be an artists with your body nudes and art sexualized by internet people. . .

NO,

all content will stay safely locked in the label's vault. :

. . . for security

kk

so we just gonna ignore the fact that nobody picked 21 savage

sshhhhhhhhhhh gah dam we got 2 whole phases left.

I was finna do a 21 savage ASMR with Sampha

Playboi Carti for Rolling Stone (PART ONE: INTRO)

Fresh off a flight into Atlanta, I walk into the place I’m meant to meet Playboi Carti – one of the most polarizing artists in the modern world of hip-hop. It’s a low-key fried chicken restaurant he selected himself. After searching for him for a couple minutes with no luck, I pull out my phone to give him a call. As I do so, with the assumption he’s probably just late, I hear a car horn let out two short beeps outside the restaurant. I recognize my interview partner and get in the car.

“Too many people there today,” he says, “That place is usually dead as f***.”

I instantly notice his freshly dyed hair, an interesting shade of red with two eyes that match it. I can’t tell if he’s high or just f***ing exhausted – or both. Ignoring my better instincts, I agree to let him drive us to a new interview spot. Along the way we engage in boring small talk, which gradually fades out. About 20 minutes into this unexpectedly long drive, he asks me, “You wanna know about the album, don’t you?” I nod as he sighs and admits he’s taking me to his private studio outside of the city. “I’m going to record the last track for that s*** right now. My new producer Peggy is fixing up the beat.”

My brain enters a confused state. After thinking for about 30 seconds, I finally ask, “You mean JPEGMAFIA?” He responds, “Yeah, Peggy. I got him executive producing my new s***.”

I sit there in silence trying to piece together in my head how their collaborations could sound. Soon enough, I don’t have to imagine. We get to the studio and, sure enough, JPEGMAFIA is in the finishing stages of the previously mentioned instrumental. It sounds dark –hellish even. It reminds me a bit of “Rainbow Six” from his album Veteran. Carti is bobbing his head to the rhythm, but he’s not just vibing to it. His eyes are wide open, and you can see the focus despite being just as bloodshot as before. He turns to me and says, “Let me record this s*** real quick and then we’ll knock out that interview.”

“Real quick” turned into two and a half hours of retakes and punching in. I can’t complain about the wait, because I was fascinated. He was a bit more melodic than usual when tackling this track, making sure the live Antares Autotune was meshing well with his voice. The average listener may think that a rapper with such a simplistic style would probably walk in and out the booth in ten minutes – I admit I thought the same. Seeing his process in person, however, opened my eyes to realizing that Playboi Carti is an artist who truly cares about his craft. While I can’t say I’ve witnessed his process for his self-titled album or Die Lit, I can definitely say it works. The supposed final track sounds unreal. A departure from standard trap drums and 808’s actually does him well, as his simplistic delivery style meshes well with the saturated sub bass and eerie sounds that make up the beat’s melody.

He exits the booth and sits down while Peggy works on a rough mix of the track in another room. After taking a sip out of both his cups, one being water and the other being what I presume to be lean, he tells me he’s ready for the interview.

@HalfBaked @ovodante @otherotherbenz @justwantyandhi @Tyler

Playboi Carti for Rolling Stone (PART TWO: INTERVIEW)

I’m not going to lie man, that was impressive. I never knew you were so particular while recording.

Hell yeah, bro. Why you think my s*** so fire? (laughs)

It’s interesting because I’m sure you know a lot of people dismiss as a “mumble rapper.” But it seems like more in-tune rap fans think you’re perfecting that type of vocal delivery.

That’s facts. I’m picky as hell with beats. I really give a f*** about the sounds I’m putting out. That lyrical s***, I know that ain’t me. But can’t nobody ride a beat like me.

I can definitely see that now. A lot of people even think Die Lit is somewhat of an avant-garde project. Are you trying to push boundaries again with your new album?

Definitely. To be real, though, that s*** wasn’t really that crazy. This s*** is way more experimental. Peggy helped me blur the lines between trap s*** and like alternative or even electro rap.

Care to elaborate?

The beats on this s*** cover a wide ass ground. You got like earth-shaking s*** at the beginning of it, then you got real slow wavy s*** at the end. And my voice sounds good on both. I went dark on this s***. S*** sounds like hell. It’s like Atlanta got lit on fire. A lot of my s*** was real poppy and sometimes gloomy, but never really sounded evil like I wanted. It’s what the first Whole Lotta Red should have sounded like.

First Whole Lotta Red?

Yeah, it was the sound I was really going for with the first one. But I didn’t really push myself enough to do it how I wanted.

I’m still confused. What do you mean first?

Oh s***, bro. (laughs) I’m tired as f***. We’re wrapping up Whole Lotta Red 2, bro. S*** is crazy!

Ok, but how can it be Whole Lotta Red 2 if Whole Lotta Red 1 never dropped?

It did. You know how much s*** leaked from the album? Literally all of it, except like two tracks. That’s why I got out of my contract and got with Vlonely Records, my last label wasn’t careful with my s***. I wasn’t ready to move on from the s*** I wanted to make but Whole Lotta Red was a finished ass album before all those leaks came.

I guess you’re right. Have you been working with the same people for both?

The first one was almost all Pierre Bourne. He’s still on this s***, but not all of it like my other projects. I had to step out my comfort zone. I got real inspired listening to Peggy. I hit him up and found out he was a fan – the rest is history. He oversaw the whole s*** and produced a lot of the second half of the album.

That will be amazing if the rest of the album sounds anything like the track you just recorded. Any features?

Yeah. I kept working with Yung Lean after the first one – that was one of the tracks that didn’t leak, I think. But he’s on here again. I don’t really want to reveal many more features, actually, but there’s some really crazy s***. Oh, Brent Faiyaz is on there. That track is wavy as f***! (laughs)

Wow, I’m a huge fan of his. That track is probably amazing.

You want to hear that s***? F*** it, we basically just finished the album, bro. Come over here, me and Peggy are about to listen to that s*** all the way through.

@HalfBaked @ovodante @otherotherbenz @justwantyandhi @Tyler

Playboi Carti for Rolling Stone (PART THREE: CONCLUSION)

The album is nothing short of his most ambitious work yet. He asked me not to spoil the features, but what I will tell you is that I noticed a couple tracks with a “Whoa, Kenny!” tag as well as some of Pierre Bourne’s best production to date. Carti’s artistry really takes a step up, which I think is a benefit of him working with JPEGMAFIA throughout the project. It’s full of interesting transitions and sound effects, along with those well-fitting beat progressions and switches that were all over his 2019 album, All My Heroes Are Cornballs. The album begins with really hard-hitting, almost industrial-style instrumentals but gradually delves into a more melodic, d***ged-out sound. He wasn’t lying about it sounding like hell – the album really feels like it came from the darkest parts of his soul, both in his voice and with the production he chose.

Whether you’re a Carti fan or a non-believer, it is undeniable that he continues to push the boundaries with this one. Whole Lotta Red 2 will be releasing soon for everyone to hear.

@HalfBaked @ovodante @otherotherbenz @justwantyandhi @Tyler

You niggas too cold with this photoshop. sht so unfair

this post alone is confirmation you make beats

nobody knows the name of the autotune vst except for producers.:dead: