Has the label given you guys any problems about this album being such a departure?
KC: No. Everybody’s really excited, and whatever I do, they’re behind me. The only issue is getting everybody to see where it can go and see the magnitude of what we’re doing. It’s kind of tough, because it’s not like we have a single on the radio. It’s not like we have people pushing it. So it’s like, it’s a whole other ball game, but we have faith in our fans and in the music, because we know this music is good. It’s going to reach people. I’m really proud of it. It’s like, one of my biggest accomplishments. It’s my first thing outside of Dream On, and I did it. I did a whole album with my buddy—just us. We did that shit, and that shit sounds amazing. I feel really, really good about it.
DDG: I feel really good about the sound. We already know that the next album is going to be fucking... It’s hard thinking about it, because we know right now what we can do with those instruments.
WZRD is forever. I felt so alive working on this project. Hip-hop will stress you out, man. It’s like, 'Man. I’ve got to think of the wittiest way to say this shit.' It’s just so stressful.
So this is not a one-off? You guys plan on doing another one at some point?
KC: Yes. WZRD is forever. It’s forever, man. I’m about to be doing this shit forever. I felt so alive working on this project, man. It was so awesome. Hip-hop will stress you out, man. It’s like, “Man. I’ve got to think of the wittiest way to say this shit.” It’s just so stressful.
DDG: You said something that I was like, “Wow. That’s a perfect description.” About the hip-hop car-salesman.
KC: Oh, yeah. Well, I was saying, in hip-hop, each rapper is like a car-salesman. They’re selling themselves when they first meet you. It’s like, “Look, look, look, I got jewelery. I got this. I got that.” And by the end of their spiel, they want you to believe they’ve got money, bitches...All the things that they talk about, they want you to believe them. Every song is just trying to convince you, “I’m the realest motherfucker.” Everybody’s like, “I promise!” It’s like, the first song on the album should be “I Promise.” Track two, “I’m Not Lying,” and then “Realest Nigga Forever.” Whereas some people’s shit is like, “Hey. This is what it is. Accept me for me.” It’s like, “We’ve got what we’ve got. We are who we are.” I never want to feel like I’m selling myself or trying to convince motherfuckers I’m cool or some shit. Fuck that. Fuck that “being cool” shit. I’m just a dude, and that’s how I live my life.
Some of the best bands have broken up. Did you guys make a commitment to yourselves that whatever happened music-wise, you’d still be tight as friends?
KC: Yeah, I think it’s an unspoken rule. We haven’t really had a sit-down, but Dot knows my experiences in business, and he learns from me. We knew when we first got into this what we wanted to do. We had our goal, and we’re not the type of people to just say some shit and not follow through. Me and Dot have always been prolific with work.
DDG: Because the relationship extends back so long, me and him can get passionate about a topic to the point where we find ourselves yelling and shit, but that doesn’t really matter. Nothing really matters but what we’re doing here.
Cudi you're always said there’s a very small amount of people around you who you can trust. Did that factor in going back to working with Dot exclusively, and not, say, Pat and Emile?
KC: No, that didn’t have anything to do with it. Not at all. It’s just that when I started working with Pat and Emile, we were just really wrapped up in creating a new sound. I had a particular vision for the Man On The Moon shit. It was a little bit more out there and in the direction of Emile’s ear, because he was the executive producer then, and Plain Pat, too. But Dot was always around sending beats and shit. Getting back with Dot made me realize that if I’m going to stay true to the Kid Cudi sound, it’s working with the man I created it with. My musical direction didn’t have anything to do with the split, because Pat and Emile embraced Dot. We were all jamming.
Are you excited to play it for Emile and Pat?
KC: I don’t think there will be a time when I play it for them. I think they might just hear it. I’m curious as to what they might think. They’ll probably hate it. They probably won’t like it. I mean, Pat will probably shit on it [Laughs.] He’ll probably find something wrong with it, some flaw. Emile will probably lie to me and tell me it’s good, even though he doesn’t like it that much [Laughs.] Nah, Emile will like it. Pat will probably say it sucks. Even so, I can’t think about that. I’m doing what I want to do, and this is what makes me happy. I like these songs. I don’t really care what the critics will say or what anyone might say. I like these songs, and they help me.