the LORD GOAT interview


I'd like to start from the beginning, and ask you about your family's roots and background. How far back can you take me? 

My dad was born in Mexico and my mom was born in Brooklyn. I grew up in Island Park which is near Long Beach. I was probably about three years old when my parents split up and we stayed in Long Beach until I was in 3rd, maybe 4th grade. My mom passed away in '91, and my dad lives in Mexico. 

Henry Hill
If you remember at the beginning of Goodfellas, they show the cab stand, which is pretty much where my mom grew up—in one of the apartments on top of the cab stand. Henry Hill and Jimmy the Gent were guys that she knew and grew up with. They were her friends, the crew that she ran with, and occasionally got into trouble with when she was younger. Since I was 4 years old, she'd talk about Tuddy (Cicero). He would come to my birthday parties. Mean people would come to my birthday parties, not for any other reason except the fact that they were friends with my mom. They would bring me nice stuff, like a new bike and they would cater the party, and maybe even put $60 in my hands, because growing up, we really didn't have much. Those are some of the things I remember—just being super young and waking up at like 2 in the morning and there'd be like 20 wiseguys in my house. These were people intertwined with people who were killers and all sorts of bad guys, but I didn't know that at the time. When those movies came out, I was just like, "Oh ya, that's who I heard about." The character Joe Pesci from Goodfellas, Tommy DeSimone; his sister Alice was one of my moms best friends. 

I remember when that book Wiseguy came out; I was probably 12 or something and I went to this bookstore with my mom. She was looking at a book and I asked her, "What's that," and she said, "I think I'm probably mentioned in this." She was Henry Hill's neighbour. Henry would hang out at the cab stand with all these mob dudes and his father would beat the fuck out of him. He was 10 or 11, hanging out with these guys and making money. So, he would make money and then come up to see my grandmother who lived above the cab stand. He always had a few bucks on him and he couldn't go home because his dad knew what he was up to. He would make a little money, go home and get fucked up and then he would go back to my grandmother and my mom's house and they would take care of him. 

I wanna say, around '83 we moved to Brooklyn, and it was probably something I didn't really wanna do because I had friends in Island Park and there were a couple girls I was obsessed with. The thing was, a bunch of my moms friends that lived in Long Beach moved to Brooklyn and they pressured her to move too.


Lord Goat & Stu Bangas ft. Vinnie Paz | Infernal Majesty 


Tell me about some of your early music-related memories. 

Probably since I was two or three, I always had tunnel vision towards music. Old shows like Land of the Lost had visuals that were heavy, and the audio had a heavy impact as well. I always knew I was gonna be into music; more I thought as a producer. By the time I was able to read, I was studying album credits and looking for who produced this and who engineered that. Stuff that nobody would give a shit about at 8 or 9 years old. Kids were reading books and doing assignments for school, and I was buying and studying music magazines. All that stuff was biblical to me. Regular school didn't really interest me. I thought I was gonna go into the arts of some kind. By the time I was 13, I decided to do a thrash/death metal fanzine, which I worked on for about a year and made some crazy shit happen. Ill Bill was around for that too. I remember waking him up on a Saturday morning to go to Manhattan and he didn't know where the fuck we were going. We went to meet Mille from Kreator, and did a one on one interview with him and just hung out for an hour. That was pretty head crushing at the time. Kreator was one of our favourite bands at that point. 

You can say, "What is music?" You might have a definition, I might have a definition, but there's no real true definition, you know what I mean?.. that's the beauty of it. I've always been dangerously obsessed to the point of criminality when it comes to music. I'm not proud of it, but I've had to steal music because my allowance didn't cover it. There were too many records out and I'd have no way to buy them. I'd pass a record store and I'd see Iron Maiden - Killers in the window and it was $8.99. I'd see Maiden merchandise and it was overwhelming to me. It was just a complete hypnotic, narcotic thing. It worked like a complete opiate. 

You didn't even have to hear it to be addicted. The imagery was crazy! 

The imagery was so extreme, but it was more than that. I was hearing something and it was completely familiar, like I'd been there before. I can't even explain it. The first time I heard the first Maiden record, I felt like I was at home. It was like I'd heard it a million times. Very weird thing with all those records: Number of the Beast, Piece of Mind, Powerslave. After Powerslave, you have Live After Death, which was the beginning of the end for them for some reason. It didn't mean as much and it lost a lot of it's emotional power, for me. I knew around that '85 tour, something happened to them which hasn't even really been defined or talked about. There was talk about them getting burned out, but I feel like something more happened, as if they had a lot of magic extracted from them. 

I didn't ever have any other plans besides music. Even later in life, I did tons of menial jobs. I can't say I've ever had a great job, for better or worse. I haven't sold a million records, but I've always stayed true to my belief and I've always stayed true to what I was into and what I've always obsessed about, and that hasn't really wavered. If I didn't get an excitement and a thrill from doing it, there'd be absolutely zero reason. 

Caught Between Worlds—your verse on that track is heartfelt and honest, and one of my favourite Non Phixion songs. I feel that it offers a glimpse into your life and the pain and struggle that you were faced with as a kid and young man, growing up in a tough environment. What does Caught Between Worlds mean to you? 

It felt like this anxiety induced world we lived in—low income areas. When I lived in Long Beach we were always poor, but when I moved to the projects it was probably the worst possible situation, because it was just me and my mom. My dad didn't really care about anything and didn't send us anything. I'm an only child, so you throw that into the mix, and it's bound to be a recipe for some kind of adversity... which it was. So the song kinda talks about that. 

"If you refused to defend yourself, you were going to be a perpetual victim. That became a problem for almost everybody at some point. You learned your lesson and there were people there who were going to teach you that lesson." 

Can you talk about Glenwood Projects and that particular part of Brooklyn back in the 80s and 90s? 

Glenwood Projects is right on the border of Canarsie and East Flatbush. Ralph Avenue is the actual border, so Glenwood Projects encompasses like four squares. It's got 36 buildings, six floors with six apartments. Definitely a very heavy place and a shock, comparative to where I lived before. Even though right before I moved to Glenwood, I lived only five minutes away in Canarsie, which was just a regular kind of area; sorta lower/middle class. It wasn't as bad as Glenwood. We used to write graffiti; we'd go bombing and Ralph Avenue was usually the street that we didn't wanna cross. You really didn't wanna go past Ralph Avenue, East 78th and Farragut. Here I am like, "Do we really have to move there," but when you're young, you have no choice. You also learn a lot of lessons, and in some situations you get tested. You didn't have to be a super gangster or a psychopath and run around with guns, but there'd be a problem if you didn't fight back when somebody tested you. If you refused to defend yourself, you were going to be a perpetual victim. That became a problem for almost everybody at some point. You learned your lesson and there were people there who were going to teach you that lesson. 

New York was an amazing place to grow up in. Now it's devoid of culture, especially Manhattan. There's no culture, there's no 42nd street, there's no alternative bookstores that are cool. Going to Manhattan in the late 80's or 90's was always overwhelming, but that was the experience and what made it sick. Going to CBGB's was pretty life changing. Seeing Gorilla Biscuits in '89 at CB's was pretty brutal, or seeing Sick Of It All at their second CBGB's show—that shit was out there dude! Those were legendary times. There was stuff going on in hip hop, stuff going on in death metal, and all this other cross stuff going on that was super brutal at the time. 


Ill Bill | Glenwood Projects 


You've dropped some obscure Brooklyn landmarks in your lyrics, like Crazy Eddie's and the Gemini Lounge. What can you tell me about those two places?

Crazy Eddie was like a cult. He was this dude who had a bunch of electronic stores and he had these super hyper commercials where he was losing his mind, ripping his hair out and jumping around. Crazy Eddie was the spot. You could get records there or you could buy your first boombox... that kinda shit. 

People got murdered at the Gemini Lounge by guys from Roy DeMeos's crew. He was ruthless and a complete psychopath. I knew this kid from school who had a Flying V guitar, and I had one snare drum. I don't know what I was gonna do with one snare drum, but I brought it to his house. The door to his house literally connected to the Gemini Lounge. People were getting hung upside down and gutted about 10 feet from that kids apartment. I thought that was pretty weird. That's an eerie area in Flatlands, so it makes sense that those things had gone on there. 

Before you dropped Electric Lucifer, we were throwing ideas around for a potential music video for Crisis, and you mentioned Asian restaurants in Brooklyn selling food laced with addictive drugs. Can you elaborate on that? 

It's something that I had a concept for and still wanna do. It's a concept based on reality. Whether people know it or not, the Asian food trade is linked to opium and heroin—opiates in general. The nucleus of every Chinatown in every major city is opiates. The flavour in Chinese food is based on synthetic low quality opiates, and when people say that they feel weird or they feel high after eating that stuff, you gotta understand there's a reason for that. 


Lord Goat aka Gore Elohim | Electric Lucifer


Speaking of Electric Lucifer, how did you link up with Tragedy Khadafi for Spiritual Harassment? 

I met him a couple times at a radio station, and we talked, just bullshitted, ya know. Tragedy is good people, man. As a rapper, he's extremely consistent. I'd like to do something else with him—some futuristic shit.

"Long story short, Howie lit the place on fire while smoking crack and the whole apartment went up in flames. The fire department pulled out the life net for Howie, and he jumped from six stories out the window and into the net. I've never seen anything like that in my life."

Back in the summer of 2017 I saw you at the Eyehategod/Cro-Mags show in Brooklyn, and you were with your friend Don Millard. I know that he passed away in July of 2018. Can you tell me about who Don was, his music and how he was involved with Supercoven? 

He was somebody I had known for years. He was in the group, Bleach Eater, and I was in the middle of producing a second album for them, before it got cut short. Ultimately, it really was a tragedy. It was a situation where he was struggling with something that he couldn't win a battle with. He was a good dude. It's still weird to me, so I don't know exactly what the outcome is and how I even feel about it. Even though it was a couple years ago, it still feels fairly recent. 

Do you plan on releasing the 2nd Bleach Eater record? 

The record is recorded and it just needs a quick remix. There's some roadblocks in the way that we're trying to clear, but it will definitely see the light of day. 


Bleach Eater | Night Work 


What inspired you to start Supercoven Records? 

I had the name from being one of Electric Wizard's first fans in America, which sounds really fuckin' nerdy, but nobody really knew about them at that time. Fast forward to around '06 and Non Phixion's dissolution, I started to do my solo stuff and do me. That's how it came about. It's really just something that I wanted to put music out on, akin to the way I wanted to do it. As far as a label, I put out Bleach Eater and I have some upcoming surprises. I don't wanna say too much, but some of it's hip hop and some of it's definitely not hip hop. It's super DIY and raw. 


Supercoven Records


You and Ill Bill go back decades, and over the years you've both given the listeners small doses of Uncle Howie (Ill Bill's uncle) in your lyrics. Can you talk about what you remember about Howie from your point of view as a little kid, as well as the impact he's had on you as a person and artist? 

Howie was one of a kind and at the same time, he was a depressing statistic. He was somebody that was taken too soon, and somebody that played with fire. Howie was a volatile guy. The second time I met him in Bill's apartment in the projects, we came back from the store and Howie's in the apartment completely ripped on dope and/or crack, he gets up from the couch, walks over to us, and he's like, "Hey guys, what's in the bag?" We show him the bag and he literally falls backwards through a glass table and shatters it. I was probably 12 and a half years old. He fell through the table and it was pretty fuckin hilarious. Some people would have freaked out, but I looked at Bill and Bill looked at me and we just shit ourselves. At that time, we didn't know each other that long and we weren't super tight, but it was a moment where I think he might have been a little embarrassed. I think Howie had tons of potential that he never gave himself credit for because, unfortunately, he'd been sick his entire life. 

The Fire In The Projects
Me and Bill didn't have a car, so we'd walk everywhere. One day we were walking back to the projects and we see the fire department, cops, ambulances and we're like, "What the fuck is going on?" Howie was renting or sharing an apartment in the projects on the 6th floor. Long story short, Howie lit the place on fire while smoking crack and the whole apartment went up in flames. The fire department pulled out the life net for Howie, and he jumped from six stories out the window and into the net. I've never seen anything like that in my life.

He was sick for awhile; he had been doing drugs his whole life and by the time I met him in 1986, I didn't know anybody who smoked crack, so that was new for me. That was a little bit of a culture shock. As much as you wanna relate to somebody when you're young; Howie was in his 30s, we were young teenagers and he was living a lifestyle that we knew nothing about. He did dope and smoked crack all the time and was constantly wasted, but he was always funny, always cool and never a dick. It was just sad that he could never really get it together for more than a few months at a time. At one point before he died, he was sober, and I think he was able to understand the cult that we made for him. 

Hebrew National Records & Uncle Howie Records
If you look at I Shot Reagan, it says Hebrew National Records. Hebrew National Records was me and Bill's label. I was managing a deli at that time, so Hebrew National just made sense to me. Uncle Howie Records was originally Hebrew National Records and between me, Necro and Bill, I was throwing around the Uncle Howie idea first. Not to exploit him but the joke was, "Imagine Uncle Howie had a record label?!" That was the nucleus of my brain. It was funny and then Necro took it and used it on I Need Drugs. I couldn't say, "Hey man, why'd you steal my idea?!" And then somehow Bill got ahold of it and the rest is history. 

We had some cool talks. When he was younger, he got to see some really cool psychedelic, classic rock bands in concert at places like the Fillmore East. Howie used to hang out at the Fillmore in Manhattan, and he would tell me stories about Max's Kansas City. I'd pick his brain about classic rock, or what he thought about Sabbath or Blue Cheer, ya know, shit like that. 


Howard Tenenbaum (Uncle Howie)


Thanks to you guys, his name lives on. I was wearing the Uncle Howie - Heroin For Your Ears t-shirt one night at a Brother Ali show, we started chatting and he commented on the tee and acknowledged Howie's passing. This was just a couple months after he died in 2010. 

Supposedly Brother Ali is a huge fan of Ill Bill. I don't think he likes my stuff, but ya know... (Laughs)

"People are willing to throw everything away for that kind of power and financial status. You have to give blood. If it's Dr. Dre, it's your son, if it's Snoop Dogg, it's your grandson, if it's Kanye, it's your mother."

You mentioned in an interview that, "Time has stopped and we haven't aged since 9/11." Ever since you said that, I've often thought about it and wondered what you meant, exactly. Can you elaborate on that?    

I think one way of looking at it is—when that happened, there was something that popped off in the earth or in the solar system. I also think that because of the actual event, nothing has ever been the same. The years went by so quick after that and it became a blur. It wasn't a normal movement in time, like the way things moved in the 1980s. If you look at the year 2000 to 2020, what happened? What changed? We had 9/11 and what else could you point to of any significance in terms of world events? I'll be honest with you, in the 80s and 90s, I was frightened about the year 2000. Not because I thought there'd be flying robots, but because I knew that it would be irrelevant. I knew nothing would matter after that year. Nothing in history would matter. Looking back, it was an extremely pessimistic and dark attitude to have, but I think I was partially right, ya know? I feel like we were robbed of 20 years.  

What are your thoughts on musicians and the music industry being involved with or part of the Illuminati? 

Katy Perry, Lady Gaga, Britney Spears, Ariana Grande, Hilary Duff & Disney
It's really deep, but there's tons of evidence from some of these pop stars and hip hop people. One of the worst examples of a pop star that has been completely zapped, is Katy Perry. She was probably the most loyal slave experiment that they had. People like Lady Gaga stepped back and admitted that she was involved. Katy Perry is still completely programmed. It's a shame what happened to Britney Spears, who was enslaved for 10-12 years, and now she's a slave to her own house and family. Her father basically owns her and her royalties. The illuminati definitely fucked people up permanently and in a very damaging way. The torch gets passed to people like Ariana Grande, who's also an enslaved sex worker for the illuminati... and so on. You got to look at it this way, if you look at Britney Spears's first video and promotional material, it's basically porn. They were already abusing her, so once you go through that, there's no way to come out sane at the end of that tunnel. All those pop stars from that era are tapped in one way or another. There's very few that came out unscathed. I think Hilary Duff is one of them. She was smart enough to say, "Hey, I'm not down with that." I think she saw signs early on, because she was an employee of Disney, which is a perverted nationalist company—it's a Nazi company. To have those ideals mixed in with sexuality, it's a fucking plague. The fact that Disney still operates is mind boggling and they should have been shut down years ago because of the stuff that they've been involved in. You're dealing with American giants and you know what America was built on, unfortunately. The entertainment industry would obviously be part and parcel with that kind of lunacy.

Jay-Z & Marina Abramovic
I don't think Jay-Z has killed kids, but he's been to rituals with his wife and he's definitely a member in some way, shape or form or else they wouldn't allow him to exist. You can't operate in this society and perpetually grow your bank account to those levels without being forced or willing to join some kind of circle. People are willing to throw everything away for that kind of power and financial status. You have to give blood. If it's Dr. Dre, it's your son, if it's Snoop Dogg, it's your grandson, if it's Kanye, it's your mother. Jay-Z has been in spirit cooking meetings with witches, he's had blood rituals, and there's even photos of him with Marina Abramovic, who's a witch. The problem with Jay-Z is not what he did, it's what the fuck he knows. Everybody should look up Jay-Z's connection to Marina Abramovic.

Santeria, Lisa Left Eye, Azealia Banks & Britney Murphy 
Did you ever see the video of Lisa Left Eye from TLC driving off the road in Honduras? It's pretty brutal, dude. It's her and her dancers or friends in the car, and it shows the car being pulled off the road. She just loses control out of nowhere. That was a Santeria sacrifice. Before that, she was driving with her personal assistant and they hit and killed a boy, whose last name was Lopez, with a Z. 

Another one is Azealia Banks, who is one of the most cult-like and bizarre examples. If people don't know Azealia Banks, she's a pop rapper who's involved with Santeria; doing rituals and killing animals in closets. She's completely warped. I believe what happened with her is that she got a taste of it at the beginning of her career, wanted more and got in way over her head. Now she's cursed and it's over for her. When you're playing with stuff like that, you're playing with fire and you're not gonna have a normal life, going forward. Once you get involved, you don't usually walk away; you end up like Brittany Murphy.  

Lately, it hasn't been cool to talk about the illuminati. All of these things are still happening on a daily basis, but nobody talks about them because it isn't trendy anymore. At the end of the day, it's a comical circus and people are so lost in terms of what they're seeing. People can't define what's real or what's an illusion. It's never been this cloudy.



Lord Goat | Final Expenses


The artwork on your latest album, Final Expenses, is pretty heavy. The more I look at that image, the more it freaks me out. I know that the dude who created it doesn't want to be recognized for his artwork, right? 

The second I saw the artwork, I instantly knew. I was like, "Ya, that's it for me." Originally, I didn't plan that the artist was going to choose to remain anonymous. I think that from what he was letting me know, was that he was going through some stuff that he wouldn't talk about. I said, "People are gonna be interested in your work." He didn't care. He's not one of these guys who paints skeletons for these new rappers, ya know. He's from a different era. The thing was, I was asking him if he had the original painting and he had no painting and no prints left. He's a very nice guy, but this was probably one of the strangest situations as far as exchanging art and doing business goes. He didn't charge me a penny, didn't want money, but obviously I offered to pay him and he refused. 

How'd you connect with Stu Bangas and what is it about his beats and production that turn you on? 

I've known Stu for a couple years. We were talking and he said that we should do something, and I was like, "Ya! Fuck ya!" Stu's been around for awhile and I noticed his beats years ago. He just keeps on getting better. He's definitely one of my favourite producers. I think that on a production level, he just takes a lot of the vile and repulsive samples from a song. Some guys think that anything you take from a record is worthy of being a sample. There's different levels, and I think what Stu is doing is very brutal. As far as a producer, I think that he's the most consistent guy right now. He did stuff for Blaq Poet which was great, but what he's doing now is on a different level. 

Where do you see the music industry landing, post pandemic, and more importantly, where do you see artists, musicians and bands in a few years from now? 

The industry is always changing anyway—what's left of the industry. Nobody buys records anymore. Bands that have gold records don't make money. The pandemic has wiped out millions of people and thousands of those people are musicians. You're not gonna hear from many of those bands again. 

Taking the Covid 19 situation into account, in your opinion, what's the strangest, most unexplainable thing that has happened since March of 2019? 

Last year Bill Gates and his wife did a really fuckin' creepy broadcast special. I'm not saying you have to get dolled up for a camera, but Melinda looked like she just came outta Auschwitz—completly dirty and beat up, and she was making the most bizarre facial expressions. If you look in her eyes, nothing is good back there. You can see her shapeshifting. She's not even hiding it.




Let's talk about MF Doom for a minute—RIP MF Doom. You guys did a track called Strange Universe, which is on The Future Is Now. It's peculiar that the name of the track is Strange Universe ft. MF Doom and he dies amidst arguably the strangest time in our lifetime. Can you talk about recording Strange Universe with Doom at Area 51, and give a little history lesson on the studio and Non Phixion's connection to it? 

We wanted to work with Doom for a while. I have been a fan since KMD, and I had a little bit of a history with him, just by growing up in the same area that he did. When I moved from Long Beach to Brooklyn, he was already in junior high, and if I hadn't have moved I would have been going to school with him.

He came down to the studio and we were really psyched and happy to have him on the record. We smoked a shit ton of weed, everybody was partying and we were just hanging and vibing out. He did his verse and knocked it out in one take. He'd come back to the studio and we'd hang out from time to time. I remember one time he left some of his DAT tapes there—this was before the big records came out. I remember sitting with Bill and I was just shocked because there was so much on there— amazing stuff! I was happy to hear it, because some of that stuff never really came out. He had tons and tons of demos. He was constantly working and making beats. When he did that session for Strange Universe, me and him started working on a beat in the studio and the idea was to knock something out over it. Everyone might have got too high to operate at that point, and the second item never happened. I might release the beat someday. We did the beat on the Ensoniq ASR-10. He liked grabbing drums that were already used and filtered, and if we were making an original beat, I wanted to use original drums that I made. He said, "We could do that but I was thinkin' of this," and he put on this Kool G Rap single, The Streets of New York. On that instrumental, there's a drum track that plays at the end of the beat, and I came back in the room and he was smoking a blunt and was really into that drum break, so we dug and grabbed a couple loops. Maybe one day it'll show up somewhere. 

It's unfortunate what happened to him and it's really sad considering what he went through for the last 5 years.

MF Doom


Area 51
Area 51 was a studio that we wanted to build forever. When we got together with MC Serch and got signed to Geffen, the studio was one of the first orders of business. To Serch's credit, he told me face to face, "Look, whatever happens between us, this shit is yours," which was very important to hear at that point. We grew up in the projects, we were knucklehead kids and didn't have access to expensive equipment. We had to rob studios back in the day—not proud of it. When we did get the deal with Geffen and we got the studio, we were beyond elated. I found a location that was extremely low in rent, but the room wasn't the perfect shape, so we weren't getting perfect sound. Area 51 is where we started recording The Future Is Now, The Green CD demos and just a lot of different stuff. We put wood on the walls and we put this really expensive sliding glass door in. We also had a bulletproof door installed that was really expensive. It was a time where we felt like things were really moving along. We thought maybe we'd go gold or maybe we could go platinum. The door was wide open at that point. 51 was definitely a good start for us as far as being creative on your own. That was the first time I was able to have my own production equipment. Those are bittersweet memories, but accomplishments that we are definitely proud of. At the time, we were just some little underground group and nobody sounded or looked like us and we ended up getting a major record deal and building a studio. For me that was a huge triumph. 

If you could bring any band shirts back from the dead, which ones would they be? 

One of my favourites is the Pushead Metallica shirt design for Crash Course in Brain—the white shirt. At the time it was one of the most brutal shirts. One of my favourite shirts from back in the day was a Suicidal Tendencies shirt I had, which I've never seen anyone else with, since. It was a black shirt with all these skeletons in a pile. It's one of the most obscure designs. There's also 20 of my favourite Maiden t-shirts. When I was a kid I collected them. Another one of my favourite shirts was a Dio long sleeve that I had. It was grey with black sleeves—total classic. There's also a W.A.S.P. long sleeve that I had with the bones on the back. Those shirts are about $600 in good condition now. A lot of really classic stuff. 

Do you still have any of those shirts?

I don't really have any of those old shirts, but I do have about 95% of the magazines that I've collected over the years. As far as collecting stuff, it's my pride and joy. All the Metal Forces, Metal Mania, Circus, Hit Parader, Kerrang!, Spin and Metal Hammer. 

I know you have some projects in the works right now. Can you talk about what's coming out in the near future?

We got some shit on the burners. Me and Q-Unique have something that we just finished. The stuff that me and him are doing is definitely different than people might expect. It's pretty brutal and it's definitely more street than what he's done in the past. It's a heavier side of him. We have this song called Guatemala which I think is gonna be the first single. To me, that's one of my favourites. There's also a song called Chubb Rock which is pretty interesting. Me and Recognize Ali have something coming out too. The Blizz from Juice record will be out very soon. Blizz is an artist on Supercoven. I did 4 beats on his album. It's got Eto and Ill Bill on it. I got another solo EP coming out at the end of the year. Since this whole pandemic gimmick, I've probably made like 200 beats. I think idle hands can be dangerous, if not up to good stuff. Especially now. 🏴‍☠️



By Landyn McIntosh | Published: January. 30, 2021