![]() ![]() Showtime is featured on the “Desire” record, everybody and their mother thinks its K-C from Jodeci, you know. PM: Yeah, it’s definitely more collaborative. Were you in search of a more collaborative solo record? And what’s dope about especially Neela, is, you know, he could be working on an Aretha Franklin record, or he could be working on some dark-ass satanic song and she will just switch up, and jump right into that character.ĬMG: So you wanted to open things up more. ![]() So as soon as we started doing shows together, I knew I had to incorporate these people on the record. The guy who’s singing on the “Desire” record is a force to be reckoned with, and then she-live is a force in herself. But these people who I got on board, they totally transcend that whole “background” vibe. PM: Coming off songs like “My Life” with Styles P, (where I sang) the chorus, and from feedback and beats and just the direction I was going, I was doing a lot of vocalization on the records, but then when I got to the live element, I was like, “Yo, this is not translating well live with me trying to do everything.” So I incorporated singers. So I think the vocals and the soul of the music is what makes it cohesive.ĬMG: What was it that made you want to include more vocals on the record? I think that for vocal reasons the direction I was going was heavy on the vocal side, whether it’s a god-fearing, evil song, there will still be some type of vocals, or on some James Bond, David Axelrod type of thing, or whether it was a straight soul record. PM: I think what pulls it together the most is the content and the soul. I did “Push,” “What It Is,” and “Body Baby.”ĬMG: Is there any overriding philosophy unifying the sound of the new record? I managed to do a little of this between chattering teeth.ĬMG: You handled about half the production on the new record yourself, right? When offered fifteen sweet, sweet minutes of interview with Monch, in the month preceding the release of his second solo record, Desire, which comes eight-fucking-years after his epochal solo debut, I snatched the opportunity. As one half of Organized Konfusion, he released two exultant, virtuosic, funny, fucked-up and sneering records, some of the best rap in rap’s best decade. The ones that once shot electromagnetic fishnets across your attention, blinding temporarily in a white-hot haze, a shuddering high that you never forgot and chased forever, reliving in tiny bursts with each of the thousand successive listens. Quickfast: name your top ten favorite musical artists of all time, regardless of genre. ![]()
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