Producer: Mike Dean
AH: Mike Dean produced a song on my album called “Black Synagogue.” It’s an entire church service. Mike is hilarious to work with because he is one of those guys who is so cutthroat and straightforward. If he thinks its sucks, he thinks it sucks. He’s like, “This is some shit, man. I don’t want to hear this shit.” It’s cool to have someone so honest there. We were working on a bunch of different stuff at first. He was doing these interludes ‘cause RZA and Isabella Summers from Florence And The Machine actually produced one of the interludes on my album. It was pretty cool. Mike came and added an extension to that song. The song is 11 minutes, but it’s not split up. Mike is cool and he’s really talented.
“A Tribe Called Red”
Producer: A Tribe Called Red
AH: We’ve been friends for a bit. They are like, “Yeah, we are gonna send you this dope beat.” I was like, “Whoa, heard it.” I decided to pay homage to them as well as [my] roots, [so] I would name the song a “A Tribe Called Red.” It’s mostly about literally those kids again. Everything I do was about those kids, because I was one of those kids. And I had no one to speak to me.
I mean, obviously I wasn’t able to listen to music until I was 16. I found Eminem and Eminem spoke my life. It’s like the first time I read a book that literally spoke to me. How did this person know to write about me? It’s one of those things where you have to have that in your life or you literally will go crazy. When you don’t feel you have anyone representing you, you are too scared to say anything. You need it. That’s all I care about.
AH: I met those guys a whole year ago. And we recorded “Hell Could Freeze” and “Crown” in the same day. It’s crazy because “Hell Could Freeze” came out January of this year and I was like, “Whoa.” Everyone was like, “When did you do this?” We did this a year ago. I didn’t expect it to happen, but it was cool. It’s awesome because those boys, it’s like five of them. I didn’t know. I thought it was one [person]. I was with [Amir Amor] for most of the time. And they all come piling into the studio. Who are you niggas? Where are you coming from? They just kept coming out of nowhere. It was crazy.
[The track] is more reminiscent of Missy Elliott. Back in the day with the weird sounds and the heavy bass. It’s cool. I wouldn’t say I’m queen of anything. I never want to be queen of anything in life. It’s grimy, dark and minimalist. But at the same time, it’s so heavy on the floor and that’s what I thrive on.