You’ve got that confidence, because you know you’re good. But there’s always that chance that your world can get, like, fucking crushed.
KC: Yeah. You definitely want to impress your partner. You want them to be like, “Oh shit, you did this...”
KC: I’m impressed by O-Dot all the time. He doesn’t stop impressing me. I might be like, “O, I have a drum pattern,” and just beat-box the drum pattern or some shit—or lay down a rough. And he’ll come in and make the shit sound like what it’s supposed to sound like. He’ll add special shit here and there, and I’ll be like, “Oh shit, that was mad creative. I would have never thought of that. Holy shit.” That’s what I’m talking about. Since day one, I’ve been telling Dot to think outside the box. He’ll tell you that.
Rock and roll has been low-key. There’s been some really good bands out there, but rock is almost like the underground sh*t now. Mainstream sh*t, pop culture, is all hip-hop. Hip-hop is pop now. So it’s not like the ’90s, when rock and roll was everywhere.
KC: Since “Day ’N’ Night,” Yo, man. Think outside the box, man. Use some sounds that we ain’t never heard before.”
KC: It’s just crazy, because I’m seeing him think outside the box more and more as we’ve been working. And it’s like our frequencies are matched—whereas, when we first met, I had my frequency, and I was trying to get Dot up to my frequency. At first, it was like, “Come on, man. See where my mind is at.” It was slow building, because I was still trying to establish that frequency and the sound of it. “Dat New New” was when we had our formula, but “Day ’N’ Night” was when it was perfected. It was like, “This is where we’re going with it. This is what it needs to be.”
When did you guys think this album was a reality? Not like, “Oh, I want to do it.” But like, “OK, this is really going to happen?”
KC: When I opened my mouth and said it [Both laugh]. Because I don’t fuck around, man. I was sitting on the idea for a couple months. Then, I was like, “Man, this shit keeps popping up in my mind and in my soul. I want to do this.” Then I picked up that instrument, and it made it even more of a reality for me, because it was like, “OK, I’m really doing this, and I’ve formed this connection with this instrument, and it feels comfortable to me to play it. I instantly was like, “We can make a whole album like this. We need to make a whole album with this instrument. Like, we have to. And I don’t want to feel restricted. I want to be able to fucking sing my heart out and just fucking rock.”
All I wanted to do was rock, man. I just wanted to rock and roll, and that’s all I want to do right now. I just want to rock and roll. I think rock and roll has been like, low-key, man. There’s been some really good bands out there, but rock is almost like the underground shit now. It’s like mainstream shit, pop-culture, is all hip-hop. Hip-hop is pop now. So it’s not like the ’90s, when rock and roll was everywhere, and it was like, mainstream shit. When you watched an award show, it was mainly rock bands, and the hip-hop section was very small.
I just want to have people hear the guitar in a different way than they’ve ever heard Which is really a big thing to want to do, because the instrument has been around for ages. But even with some of the music we’ve been playing, the way the records sound, and the plug-ins that we used, and how we played shit, and how we constructed the records, is very different. It’s like, you haven’t heard it this way.
DDG: I think the special thing about the album is that he decided to play the instrument, having no previous knowledge or teachings or understanding of the instrument. He just wanted to make an album with it, by himself, playing the guitar. He could have easily gotten a whole bunch of people to come play guitar and play his riffs for him.
I guess everything was leading up to this day.
KC: Since we met.
DDG: Yeah, I feel like it was destined for us to finally hone in on this sound.