“A wise man knows he knows nothing.” But anyways, I found myself becoming a critic of the new artists coming in. When did that start to creep in, and have you been able to come to a place of acceptance around it? “Moonshooter” also feels like a pivotal moment on the album, because you seem to come clean and say “I don’t know what to think.” This unease feels like uncharted territory for Ab-Soul. So I took a year and a half off from my last album, and I went in saying, “I’m not gonna have a concept this time, I’m just gonna be pure, be open and just try to speak from within.” It was fuzzy at first, to be vulnerable, organic, but I tell everybody that once I made “Fallacy,” I felt like I was on the verge of something and that I had a direction. So this time around I just wanted it to feel good first, and I just wanted to be an instrument versus have it be about what I’m saying.Īt what point did Herbert and those ideas really start to come together? That wasn’t an album, that was an algorithm. I almost even confused myself with that one. It was challenging to simplify, and I wanted it to be an easy listen, because my last album in particular was very dense and very dark also. How did your approach to songwriting change with this album?įor me, it’s more difficult to be simple than it is to be complex. When I was listening back to Do What Thou Wilt versus Herbert, the first thing that struck me was how transparent and clear your songwriting has become. The process not only birthed some of Soul’s best music in a decade, it helped him let go of the steering wheel, and not get so caught up in the “absolute truth” idea. “I was asking my guys, ‘What do you want to hear me on?’ I was challenging myself in that regard,” Soul says.
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