customcraftshawty

3d

such a fail he put out album this long. besides single i only bump cry for me and take me back to LA they are real songs perfect for finale album. songs with trav and future are also nice! maybe niagara falls... but thats it

HURRY UP kiddash3r

3d

none of the songs that you mentioned are top 5 on the album(maybe TMBTLA) so this is wrong

customcraftshawty

3d

such a fail he put out album this long. besides single i only bump cry for me and take me back to LA they are real songs perfect for finale album. songs with trav and future are also nice! maybe niagara falls... but thats it

customcraftshawty

3d

such a fail he put out album this long. besides single i only bump cry for me and take me back to LA they are real songs perfect for finale album. songs with trav and future are also nice! maybe niagara falls... but thats it

customcraftshawty

3d

such a fail he put out album this long. besides single i only bump cry for me and take me back to LA they are real songs perfect for finale album. songs with trav and future are also nice! maybe niagara falls... but thats it

New NIGHTMAN

6d

Real for BANKS

maruchinn

3d

WAKE ME UP!

CAUSE IM TRYING (im trying)

THIS SLEEP IS (this sleep is) PARALYZING

WAKE ME UP!

CAUSE IM DREAMIN'

IT FEELS SOOOOO (HO!)

DAMN REAL (HEY!)

malédiction

3d

So, let’s talk about Red Terror. How did the collaboration with Abel come about?

Eddie: He just hit me up on Instagram, actually. It was right after the Cannes Film Festival when I went out for the screening of my short The Vandal. It kind of got a good amount of press coverage and then he hit me up about it because he really loved it. The conversations were about just doing something on a bigger scale, right? Like some feature stuff.

It’s pretty simple as far as that. So, it was about us talking for a year and a half, really, until the time was right where this new album seemed to be a good fit that allowed the freedom to just do my thing. Abel was pretty hands off, but working together on the video for Red Terror was a way for us to get to know each other and how each other works.

I didn’t have any of the context around the meaning of the song title and its connection to what happened in Ethiopia where Abel is from. I knew none of that stuff when I was making it. I didn’t even have a song early on. Abel had the idea of a boy in a haunted forest, and then I came up with the rest and storyboarded it.

When he played the song for me was when it took on another meaning. I didn’t even know any of the facts of what happened in Ethiopia until I got a little bit closer to us finishing it. But I felt like it was something that came through in areas of our conversations and I sensed it was connected to that.

When that came into view for you, did it in any way impact or shift what you’d been working on?

Eddie: Not really, no, because it was pretty much done. Abel was still working on this new music while I was making the video so I wasn’t even using temp music. I just wanted to get into a flow with the process and then obviously I did some tweaks to make certain things really hit after I had the music. So that was an interesting way to work. But it was pretty freeing. Again, I didn’t have anything to constrict me in any way.

Was the boy losing his mouth in the video connected in any way to the performance where Abel lost his voice?

Eddie: It’s kind of crazy to think about the connections between him losing his voice, the boy without the mouth, and also the Red Terror and silencing of dissent. I don’t know what it was. Maybe just the frequency, some conversations could lead to certain ideas perhaps, but it’s weird how all of that connected afterwards.

There was also a lot of personal stuff that was going on in my life that resonated and reverberated. Things you don’t even have to force, it just somehow connects if you leave yourself open.

I think that’s what’s cool about experimental filmmaking. You’re not trying to always fit in a certain box, right? And so when you are a bit more free and you allow yourself to just kind of go by instinct and feeling, that sometimes is rewarding afterwards, even though you don’t know what really caused it in the first place or how it came to be.

You also worked with Abel on his Open Hearts live performance on Kimmel. One of the things that is so compelling about him as a performer is his ability to find ways of breaking free from the constraints of being in a studio with an audience sitting there with an applause sign. He consciously breaks the rules of that space. What was the discussion you had around the end of his performance seamlessly transitioning into the stop motion world with the lone boy clapping in the auditorium? It feels like a prequel of sorts to Red Terror.

Eddie: That’s definitely a prequel for sure and it leads you into Red Terror. And that was Abel’s idea as far as having just a boy clapping at the very end of the performance. This is something kind of new to me as far as these pre-recorded performances go. Initially I wanted to do a lot more, but we kept on talking about how to keep it simple so people would actually think it’s live.

I think that was a hard thing to wrap my brain around because my initial instincts were just to go crazy with some of the ideas, you know? Breaking reality and what have you. I had him at one point ripping out his heart in one of the earlier concepts, but it felt like it was just a little too much if we’re trying to get the audience to experience the stop motion ending stuff to feel completely and believably connected to the live performance.

So, the process was very much keep on going until you have your final, final deadline and you make all these big decisions with everything in mind, right? But you’re using that end point. You don’t make those decisions until you really have to. I think that’s what he was doing with the album too. There was a lot of stuff that I feel he was exploring. And then he finally made the decision of what to put on the album and what not to. So that was interesting to see him work.

Are you working on any other features? Is there anything else long form in the works? Is there anything else that you’re doing right now

Eddie: There are a few, yeah. I mean, that’s the thing – I feel that all this stuff is amazing to work on while I’m getting all these other things going. Who knows which one’s going to hit first or which one’s going to actually go.

Me and Abel have been really talking about this bigger thing as well. And then I have this crazy vampire film that I’ve been wanting to do. That one seems fairly close, but you never know until the actual thing hits which one really makes the most sense. But these are ones that I’ve been kind of circling around.

malédiction

3d

So, let’s talk about Red Terror. How did the collaboration with Abel come about?

Eddie: He just hit me up on Instagram, actually. It was right after the Cannes Film Festival when I went out for the screening of my short The Vandal. It kind of got a good amount of press coverage and then he hit me up about it because he really loved it. The conversations were about just doing something on a bigger scale, right? Like some feature stuff.

It’s pretty simple as far as that. So, it was about us talking for a year and a half, really, until the time was right where this new album seemed to be a good fit that allowed the freedom to just do my thing. Abel was pretty hands off, but working together on the video for Red Terror was a way for us to get to know each other and how each other works.

I didn’t have any of the context around the meaning of the song title and its connection to what happened in Ethiopia where Abel is from. I knew none of that stuff when I was making it. I didn’t even have a song early on. Abel had the idea of a boy in a haunted forest, and then I came up with the rest and storyboarded it.

When he played the song for me was when it took on another meaning. I didn’t even know any of the facts of what happened in Ethiopia until I got a little bit closer to us finishing it. But I felt like it was something that came through in areas of our conversations and I sensed it was connected to that.

When that came into view for you, did it in any way impact or shift what you’d been working on?

Eddie: Not really, no, because it was pretty much done. Abel was still working on this new music while I was making the video so I wasn’t even using temp music. I just wanted to get into a flow with the process and then obviously I did some tweaks to make certain things really hit after I had the music. So that was an interesting way to work. But it was pretty freeing. Again, I didn’t have anything to constrict me in any way.

Was the boy losing his mouth in the video connected in any way to the performance where Abel lost his voice?

Eddie: It’s kind of crazy to think about the connections between him losing his voice, the boy without the mouth, and also the Red Terror and silencing of dissent. I don’t know what it was. Maybe just the frequency, some conversations could lead to certain ideas perhaps, but it’s weird how all of that connected afterwards.

There was also a lot of personal stuff that was going on in my life that resonated and reverberated. Things you don’t even have to force, it just somehow connects if you leave yourself open.

I think that’s what’s cool about experimental filmmaking. You’re not trying to always fit in a certain box, right? And so when you are a bit more free and you allow yourself to just kind of go by instinct and feeling, that sometimes is rewarding afterwards, even though you don’t know what really caused it in the first place or how it came to be.

You also worked with Abel on his Open Hearts live performance on Kimmel. One of the things that is so compelling about him as a performer is his ability to find ways of breaking free from the constraints of being in a studio with an audience sitting there with an applause sign. He consciously breaks the rules of that space. What was the discussion you had around the end of his performance seamlessly transitioning into the stop motion world with the lone boy clapping in the auditorium? It feels like a prequel of sorts to Red Terror.

Eddie: That’s definitely a prequel for sure and it leads you into Red Terror. And that was Abel’s idea as far as having just a boy clapping at the very end of the performance. This is something kind of new to me as far as these pre-recorded performances go. Initially I wanted to do a lot more, but we kept on talking about how to keep it simple so people would actually think it’s live.

I think that was a hard thing to wrap my brain around because my initial instincts were just to go crazy with some of the ideas, you know? Breaking reality and what have you. I had him at one point ripping out his heart in one of the earlier concepts, but it felt like it was just a little too much if we’re trying to get the audience to experience the stop motion ending stuff to feel completely and believably connected to the live performance.

So, the process was very much keep on going until you have your final, final deadline and you make all these big decisions with everything in mind, right? But you’re using that end point. You don’t make those decisions until you really have to. I think that’s what he was doing with the album too. There was a lot of stuff that I feel he was exploring. And then he finally made the decision of what to put on the album and what not to. So that was interesting to see him work.

Are you working on any other features? Is there anything else long form in the works? Is there anything else that you’re doing right now

Eddie: There are a few, yeah. I mean, that’s the thing – I feel that all this stuff is amazing to work on while I’m getting all these other things going. Who knows which one’s going to hit first or which one’s going to actually go.

Me and Abel have been really talking about this bigger thing as well. And then I have this crazy vampire film that I’ve been wanting to do. That one seems fairly close, but you never know until the actual thing hits which one really makes the most sense. But these are ones that I’ve been kind of circling around.

maruchinn

3d

WAKE ME UP!

CAUSE IM TRYING (im trying)

THIS SLEEP IS (this sleep is) PARALYZING

WAKE ME UP!

CAUSE IM DREAMIN'

IT FEELS SOOOOO (HO!)

DAMN REAL (HEY!)

malédiction

3d

So, let’s talk about Red Terror. How did the collaboration with Abel come about?

Eddie: He just hit me up on Instagram, actually. It was right after the Cannes Film Festival when I went out for the screening of my short The Vandal. It kind of got a good amount of press coverage and then he hit me up about it because he really loved it. The conversations were about just doing something on a bigger scale, right? Like some feature stuff.

It’s pretty simple as far as that. So, it was about us talking for a year and a half, really, until the time was right where this new album seemed to be a good fit that allowed the freedom to just do my thing. Abel was pretty hands off, but working together on the video for Red Terror was a way for us to get to know each other and how each other works.

I didn’t have any of the context around the meaning of the song title and its connection to what happened in Ethiopia where Abel is from. I knew none of that stuff when I was making it. I didn’t even have a song early on. Abel had the idea of a boy in a haunted forest, and then I came up with the rest and storyboarded it.

When he played the song for me was when it took on another meaning. I didn’t even know any of the facts of what happened in Ethiopia until I got a little bit closer to us finishing it. But I felt like it was something that came through in areas of our conversations and I sensed it was connected to that.

When that came into view for you, did it in any way impact or shift what you’d been working on?

Eddie: Not really, no, because it was pretty much done. Abel was still working on this new music while I was making the video so I wasn’t even using temp music. I just wanted to get into a flow with the process and then obviously I did some tweaks to make certain things really hit after I had the music. So that was an interesting way to work. But it was pretty freeing. Again, I didn’t have anything to constrict me in any way.

Was the boy losing his mouth in the video connected in any way to the performance where Abel lost his voice?

Eddie: It’s kind of crazy to think about the connections between him losing his voice, the boy without the mouth, and also the Red Terror and silencing of dissent. I don’t know what it was. Maybe just the frequency, some conversations could lead to certain ideas perhaps, but it’s weird how all of that connected afterwards.

There was also a lot of personal stuff that was going on in my life that resonated and reverberated. Things you don’t even have to force, it just somehow connects if you leave yourself open.

I think that’s what’s cool about experimental filmmaking. You’re not trying to always fit in a certain box, right? And so when you are a bit more free and you allow yourself to just kind of go by instinct and feeling, that sometimes is rewarding afterwards, even though you don’t know what really caused it in the first place or how it came to be.

You also worked with Abel on his Open Hearts live performance on Kimmel. One of the things that is so compelling about him as a performer is his ability to find ways of breaking free from the constraints of being in a studio with an audience sitting there with an applause sign. He consciously breaks the rules of that space. What was the discussion you had around the end of his performance seamlessly transitioning into the stop motion world with the lone boy clapping in the auditorium? It feels like a prequel of sorts to Red Terror.

Eddie: That’s definitely a prequel for sure and it leads you into Red Terror. And that was Abel’s idea as far as having just a boy clapping at the very end of the performance. This is something kind of new to me as far as these pre-recorded performances go. Initially I wanted to do a lot more, but we kept on talking about how to keep it simple so people would actually think it’s live.

I think that was a hard thing to wrap my brain around because my initial instincts were just to go crazy with some of the ideas, you know? Breaking reality and what have you. I had him at one point ripping out his heart in one of the earlier concepts, but it felt like it was just a little too much if we’re trying to get the audience to experience the stop motion ending stuff to feel completely and believably connected to the live performance.

So, the process was very much keep on going until you have your final, final deadline and you make all these big decisions with everything in mind, right? But you’re using that end point. You don’t make those decisions until you really have to. I think that’s what he was doing with the album too. There was a lot of stuff that I feel he was exploring. And then he finally made the decision of what to put on the album and what not to. So that was interesting to see him work.

Are you working on any other features? Is there anything else long form in the works? Is there anything else that you’re doing right now

Eddie: There are a few, yeah. I mean, that’s the thing – I feel that all this stuff is amazing to work on while I’m getting all these other things going. Who knows which one’s going to hit first or which one’s going to actually go.

Me and Abel have been really talking about this bigger thing as well. And then I have this crazy vampire film that I’ve been wanting to do. That one seems fairly close, but you never know until the actual thing hits which one really makes the most sense. But these are ones that I’ve been kind of circling around.

DaeHan

3d

This is such a great fking album!

I took a break for a few weeks and came back to it this week and it’s even better.

I’m just gonna go out on a limb and say that’s this is in my top 3-5 ever

Not one skippable track

Every era is represented to its fullest extent in its best form

Incredible album.