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The Art of the Rapper / Producer Collaboration – Spotify for Artists


From Miss Elliott And TimbalandOf Soup after flying Per Freddie Gibbs And MadlibOf Pinata Per Zaitoven And The futureOf Beastmode Projects have a long history of strong rapper / producer collaboration that marks important moments in each artist’s career. When Maryland is the paper of the “Sugar Trap.” Rico Nasty And former dance music DJ and producer Kenny Beats Met in 2018, they became instant friends. Whether they know it or not, their bond will allow Kenny to expand his reach as a rap producer, and help Rico discover and impress with the hardcore sound that is most familiar to him today. Several injuries to their collaborative friendship (“Beach at Smack, “”Counting up, “”Anger”), The pair decided to build their unique dynamics and they revealed full length Anger management Gained widespread acclaim in April. Here, Rico Nasty and Kenny Beats shed light on what it takes to make their music work magic.

Spotify for artists: How did you two meet?

Rico Nasty: We met on Twitter. It was so weird when we met in real life because we all thought so [Kenny Beats] Black was the first time in my life I worked with a white manufacturer. He started playing the beat, and I just remember we said the song “I Don’t Give a Fuck” and you could tell I was going to be there rather than rap this Scrimo. But it never came out. We made “Smack A Beach” to meet on the first night.

Kenny Beats: I was a Fans. I’ll talk about how I heard about him. I was in Kochla a few years ago. I was in my friend’s car and he played me. “Hey Arnold.“It simply came to our notice then [Lil] Yati Even got it. [My friend] I played videos and everything. It was the “broccoli” era, it would be very normal to sound like the 808 with really nice beats and toy piano or something beautiful. He was in such a beat and he was saying the hardest shit. What he said was very scary, but it wasn’t sexy, and that’s why I thought it was great.

How do you know if you want to work together again after the first session?

Kenny: It’s really a feeling, “I don’t know how we’re going to lose it.” You make this a great song with someone and you say, “Damn, we have to work again because it’s better than the other shit I’m making and what you’re making.” I was trying to get him out because I came first [to her], I had this game plan and he fucked me. He was, “I want metal.” Once we made our first two or three songs, I was like, “You all have to stop going to that studio and start coming to my spot. There’s no charge, let’s go around a bit and I’ll do whatever you want.” ”

This room really disarms people because you can’t spend studio time here – there are no fixed hours. People don’t realize that when you sign in [a] Label and you are working [the] Label studios, there’s an engineer who has to pay, there’s a runner – those people have a salary. It’s part of your recording budget as an artist; It’s part of your contract. I do engineering, I do production and I am the doorman and I order food – I do everything. It just feels like a living room. Looks like you can be yourself or you can “splash tea” and have fun with your friends. I got such good music because I was less professional and clean and perfect. We come here, we keep quiet, we have fun, and it’s not worth it. I just try to stay in this room, because all the best experiences of making music in my life have been in this room. Every single time [Rico] Since coming here, we’ve made crazy and crazy and crazy shit.

Rico: Kenny and I have never had a bad session. Every time, we have a song like, “Ah, it’s coming out.” He’s just himself. It’s really easy to make the guard sound down and out. But, once you work with the same person four times, and you don’t work with other producers, and you keep going back to that person, and you keep hitting crazy? It says a lot about chemistry. It says a lot about the energy in the house when making music. If it’s different and fresh and it makes me dance, I want to work with that artist [again] Because that’s how my music feels to me. I like people dancing, I like to be very fresh according to the gender rules of my voice and the way women should be heard. I like people who sound like themselves.

Kenny Beats resized photo by Aris Chatman

Kenny Beats resized photo by Aris Chatman

How is your process when you work together?

Rico: One thing about Kenny is that he hates when people are annoying. He hates when people don’t push themselves creatively, so we’ll be in the studio for hours on end, like, “Brother you have to push yourself. You did a crazy song yesterday, you have to sing better today. You just have to be better. You have to keep testing yourself and apply your intelligence to the music. “We play the beat as soon as I get into the studio. It can’t be silent at all, which will beat the vibe. So he’ll play me some of the music he’s working on. Sometimes, I’ll be like, “Nah, I’m not feeling any of it.” So, I’ll just be like, “Let’s cook some trouble.” I’ll sit for an hour, he’ll make a beat, and I’ve been writing very fast lately so the beat can’t be done.Cheat code”Was not beaten. After creating the whole bit, we start looking for samples. The part where it’s “clap for me like Bravo” and then we all get the sound of applause? I wanted it to feel like it was actually happening to anyone listening.

Kenny: Rico came, and what he heard on the radio that day, or what his friends said on his phone, or any meme just DM’d him, was the inspiration. It could be anything. He could hear a Beyonc The song or he could hear an old one Eurythmics The song, or she could listen or watch a little dance video, and she would say, “Today, I want it.” [For “Hatin’”] He literally said, “I want ‘dirt from your shoulders’ right now.” I like, “Yeah, okay, I’ll make something like this.” He said, “No, I want ‘dirt from your shoulders.'”

Similar to “County Up”, he said, “Have you ever heard of it?” And he’s playing me. “SuperthugBy The answer I just agree. Sometimes, he would come and I would play something and he would sit down and tell me some silly sneeze, and then he would start smoking, and then I would just watch him gossip. If I see that, I start going inside. I leave her room for input. No agenda. His behavior is very specific. We’ve been around each other for a long time, right now I’m using more information than what he puts on the internet and what he tells me. There are other things that are crossing my mind through some of our moments or conversations about his life. She is one of my best friends. I don’t know people so I can get the best music, I can get to know them by making music. It never starts with a statement. It always starts with [a question]: “What are you working on? What do you need? Can I help?” Having an agenda for a relationship with a creative person is the worst thing you can do.

Kenny Beats and Rico Nasty

Kenny Beats and Rico Nasty

How do you know when it’s time to manage anger?

Rico: We made an internal joke about all the angry songs I made. It was always like, “Rico needs anger management.” I read this interview where Kenny was like, “I like to see my sessions look like therapy sessions” and I was like, “Bruh, it’s so real.” I know I’m not the only artist who has said this kind of thing about him. He’ll sit there and really get it out of you. We worked on it for five days, kept all the voices, and then when I left he started to cum with some things. I think the most important thing is to figure it out. I felt that the “anger management” environment, the uncontrolled, unpredictable I want to stop the not-given-a-fucking vibe, needs to be created quickly. I had to say what came to my mind first. It may not be what I thought it would be. A lot of people have said that the project sounds like a mad rage. Because it was consistently made that way.

Kenny: When I’m with artists, because I’m so insane and I’m out of my mind and I know how people treat me, I think I’m the perfect buffer for them. It’s broken shit, dealing with family shit, being self-conscious, hating yourself and being frustrated, dealing with anger issues, being frustrated, dealing with doubt, whatever, I was there. I was broken and stressed and something happened around me that was horrible and I was better for it. I will not judge you. If your voice is muffled or you write a bar that sounds bad or you bring someone here who acts like a fool, I’m not going to judge you for it. The people I work with even if they have no budget and no signatures and no followers, they are only here because I am a fan. So, I’m thrilled to be a doorman and producer and engineer because you’re here because I want you to win. I want Rico to win. I want him to win very badly.

I’m not here to keep this girl’s talent, or any kind of box of artists I work with. I’m here to do exactly what they want because I believe a lot in their vision and their talent. I am literally going to do what I can to help them take their goal further. Many people don’t do that; They want to get hits. For me, it’s about making sure I can be the person who gives them the vocabulary they were already trying to do. Every artist knows what it feels like in their head, it’s just that it’s so hard to figure out what’s in your head. People tell me, “I want it to sound like a beach,” and I have to take the song from there.

– Khalila Baro



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