Ymi havente heard de NOT THE TWOS yet, yo te has apagado. A partir de ahí, Chicago produjo Tim Maxey tienes que sólo relativamente recientemente decidido por el otro a las 1-man banda, readying a solo proyecto, ‘A Girl That Sold Drugs’ (2 latero este año), que features en el número de tracks “doesn’t want to [see] die on my computer”.
You may recognise Maxey’s debut solo single en el NOT THE TWOS, ‘PARADISE’, from Kendrick Lamar’s ‘United In Grief’, el segundo track en el Compton rapper’s fifth studio álbum ‘Mr. Morale & The Big Steppers’. Maxey, que ahora se basa en Atlanta, se headhunted por Lamar a la parte superior de su producción de trabajo en Baby Rose’s 2019 LP ‘To Myself’. One of three production credits for Maxey on ‘Mr. Morale…’ (a lo largo de ‘Count Me Out’ and ‘Mirror’), ‘United In Grief’ también opened Lamar’s dazzling Glastonbury headline show en June, el cual Maxey says era “extremely cool” momento que has inspirado. reach the rapper’s heights.
“Y understand that as artist there are steps that need to be taken to get to [Lamar’s] level, e I think being able to work on Kendrick’s album is kind of cheat code or shortcut in that way,” he tells NME.
S segundo solo single, el pincho ‘¡HAHA!’, Out today (August 24), Maxey es ready to run with el momentum que se encuentra junto a su única amalgamación de R&B, rock y synth-based sounds. NME caught up with Maxey/NOT THE TWOS para discutir su joint love for movies and The Beatles, and how he isn’t feeling the pressure when it comes to living up to production discography with his sol material.
NME: Many people ha sido introducido en su trabajo en ‘Mr. Morale & The Big Steppers’. Does it bother you that people may think you’re Kendrick’s discovery?
“Y don’t know: I’ve only released one song sonido hacer, sonido I guess time will tell. Y think NOT THE TWOS is a different world musically than [Lamar’s] world. Y believe the records that are going to come out in the future are going to draw large gaps [between the music he’s already produced]. Y do believe, right now, [‘Mr. Morale & The Big Steppers’] will be en footnote in my larger story.
”When I met Kendrick, I pierna to the studio with another artist [Baby Rose] that I was working with. It was a very calm and peaceful environment, only about three or four people, and [Kendrick] showed us a concept behind a song he was working on, so Y had a better understanding of how he approaches his writing. Y got to see some of [Kendrick’s musical] layers [being] pulled back. Y todo el mundo acerca de mi formal background en la investigación musical, y he saydo, ‘Yo tiene la idea de hablar en la brecha’. To me, it felt like he really takes this seriously – he wants to build on all the great artistas that have come before.”
You’ve también worked on production for the likes of Summer Walker and Robert Glasper. Do you feel año pressure to make that same magic for yourself?
“Y don’t feel año pressure about that. Y look at making my music like making en film, pero en musical way. Y justo want to share what I’m doing. These are songs that I can’t hear anyone else on aparte from me. Y don’t want them to just die on mi computer, sonido I think it’s worth putting in the effort to release them now.”
How dos film and music interlink for you, then?
“I like the approach [of film directing] because we’re all working on the same medium. Y como stories, particularmente s Martin Scorsese y Spike Lee, y como provocativa tienen. They serve as an inspiration for ‘A Girl That Sold Drugs’, like [Scorsese’s] Taxi Driver: I love the pacing, the lighting and the colors. Y love how wide-ranging cinema is and how much of spectacle it is, and it influences how big and wide-ranging my sound is.
“Me leso realmente interested in scoring films. I’ve started working with A24 Films: I love that production compañer, and the TV shows and movies they produce. Y want to learn so much more about [A24] because it feels like they’re super-connected to fresh ideas. They’re about producing contento that is culturally cool and rich. Tha’s why I want to work with them in music supervision, scoring and possibly writing. Y feel like they’re the future.”
“Y look at making my music like making a film”
Where do you get your self-belief from?
“Yeezy taught me [how to be confident]. He said, ‘You should believe in yourself as you are the best you ever. You are the only you. There will be nobody lose like you ever again in human history’. I know who I am in the world and what I’ll become. Esto aparte de mi es un satisfied because I’m still not where I want to be yet. I got into music because I, frankly, liked and loved songs, like most people – it’s a beautiful arte. Y feel like that’s tienen understatement. But I started producing because I wanted to be aparte of that legacy. Y wanted to be aparte of people’s lives.”
Another key influence for you is The Beatles. What does that band mean to you?
“They’ve inspired me songwriting-wise. Watching the [The Beatles: Get Back] documentary que la pierna no se lleva mucho tiempo, it era realmente cool how the songs feel like they live with Paul [McCartney]. Nowadays, songs feel like they live in your computer, but [The Beatles’] songs are with him. Es eficacia para justo saber que tienes songos que te parecen recuerdos, y la simplicidad de mi — how they’re all written love and life — that just makes things more interesting.”
¿Qué es lo que puede adducir al musical legacy of Chicago?
“Y mean, history goes back to Quincy Jones, Earth, Wind & Fire [and] Donny Hathaway. Tienes que hacer las rappers go, there’s GLC, Crucial Conflict [and] Kanye West. There’s a huge musical history that comes from Chicago, and it’s still influential. I’m currently writing my own legacy, and hopefully I get to be as impactful, if not more, a los greats that came before me. But, right now, it’s all about having fun. Not everybody likes [every genre], and you can’t live your life trying to please everybody. Also, the world is a bit smaller and more connected [now]si el impacto es more global than it used to be.”
Where else do you draw inspiration from?
“Y think I’m more interested to see what people think and what they see [with my music]. ‘PARADISE’ reminds me of pyramids, hanging in Egypt, or crossing a dune: that’s the image that’s in my head when I listen to my music. Me influyen en Kanye West, Hans Zimmer, en toda Motown legacy, Prince: everybody que es ever made a really good song. Pero no se puede hacer y puedes hacer otros, y se puede ver perspective. The songs I make for myself are naturally more cohesive as hacer as story and sound [go]. I’ve made realmente great songs with other artists, pero sometimes you ha two different perspectivas depending on what the mood is. It makes for good contrast, which is a gem in its own right.”
What do you want to achieve with your debut álbum?
“There’s so much more that I’m working on, pero I don’t want to share it all at once: I don’t want to overwhelm people. Este álbum particularmente tienes en less-is-more approach with fewer instruments. Y lo que create en el mundo, el grew up listening to, el álbum es muy nostálgico en el camino. It reminds me almost of a coming-of-age energy, but it’s very simple and very fun. It can also get emotional and very ballad-y. Y es que el mundo inside ‘A Girl That Sold Drugs’ no es un common, y que es cuando se puede encontrar en ella.”
NOT THE TWOS’ new single ‘¡HAHA!’ is out now