How long have you know each other?
Numoics: A year and a half at most.
How much does it take, getting to know one another and studying each others' material before going into a project like this?
SIN: We chilled a lot during the process. We actually got to know each other through the whole process of making the project because I was always in the studio with him whether it was recording or not that day. We was always chillin' and he'll be making beats, I'll be writing or whatever the case may be. We'll go out places, shows and all that.
SIN, you don't speak about Kemar on this project.
SIN: Yeah, I know. His two-year anniversary of passing away was August 1. I still speak about him a lot in a lot of records that I do by myself in my crib or whatever, you know what I'm saying? But, I do that just for self-relief. I don't know. It's tough. I don't want to keep mentioning his name to keep bringing me back to some sorrow place when he was such a big, you know, person on life and being happy and being high spirited and all that. I don't want to speak down on any of it, kind of like I did record "Black" on the Third Lifetime. He's with me in every time I record. I feel him all the time.
How do you feel this project will provide further growth for the both of you?
SIN: It's opened my eyes to, I guess with the feedback that I've been getting, I think I've opened up a more diverse fan base with this project. I'm adapting more to the south. Obviously the drums are there. Southern people love the bass. Numonics basses are fucking crazy, and people love that. It goes hard in the vehicles out here and all of that.
I've expanded my fan base more. People are starting to see another side of me where I've actually learned how to, not that I didn't know how to create songs before, I learned how to make a song now. Hook, you know, 16, make it catchy, catchy phrases. Whatever the case may be. Before I was just a lyrical buh buh buh buh buh all the time. Just lyrical spitting shit all day. And I took this project, and I wanted to make actual songs. I mean, the lyrics are obviously still there. I think the goal of making a great song was more of my goal this time around compared to other projects.
Numonics: This album is really night and day as far as what people know me for, because a lot of it is very sample driven, boom-bapish. What ever you want to call it. So, it just gave me the opportunity to try different styles with it that would mesh with what he does really well. I really just wanted to make it real bass heavy because a big complaint that I've always heard was people don't like my basses.
Basically, a lot of what he said is true. Structure, you know. Making something that's very cohesive. Everything fits, you may not like all of the songs, but you can understand where at least they all go together. It's part of a whole. It doesn't sound like something that's just a lot of ideas thrown together where these sort of projects end up being that way.
SIN: I'm going to say greed off of the simple fact that it's looked down upon but I think everybody in their own sense has their own type of greed, whether you want to believe it or not. There's a thin line between greed and pride, I think. And I think greed would be it because I am a prideful guy. Some times I don't even want people on because I want to take the whole record. That's a greedy thing, but that's what I want to do. I want to take over the whole fucking beat. What's yours?
Numonics: Keeping it so music. I guess I can keep it music too, but still, lust. Come on, bro. The only reason I make music is the make sure women find me attractive. Seriously, I got bad teeth. I've let myself go. A fucking ginger. You know, the deck is stacked against me. Yeah, man, lust. That's the best out of all of them, because you could lust for so many different things.
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