At some point along the way, people had introduced me to bands like Depeche Mode and stuff that was on the softer side of electronic music and that completely intrigued me because of the sonic capabilities and possibilities. I got intrigued with that and then somewhere along the way somebody handed me a Skinny Puppy record and I think that changed my musical life.

Even when I choose projects, if before, I looked only at my own character, I am now more interested in what the producers are trying to say through this project and what kind of statement they want to make.

And I got some other producers I’m working with right now. I got YK 808, I got Deedotwill, I got other up-and-coming artists. I stay working with different people. I like overlapping and vibing with different producers, and that’s just how I’ve always been, man. Even when I was with Three 6 Mafia. I used to always just search for new talent and work with new talented people. I just think that’s what it is. I love making music. I don’t like to stay in the same place -- I’m not that type of person. But I still keep my roots. I still keep my sound.

One fateful day, as I was engrossed in my singing, I glanced out the window and noticed a music studio called Megga. This studio was renowned for hosting rehearsals for some of the biggest celebrities in the music industry. Curiosity sparked within me, and I couldn't resist wanting to know what went on next door.

I treat the act of making a record very much like working in a laboratory, experimenting with sounds and ideas... Whoever chooses to latch onto it, great; whoever doesn't, that's fine, too. The reaction always pales in comparison to the weight of the act of production.

It was alright and it did form a good starting point for my musical career as people took notice of my desire to pursue music professionally.

I became friendly with [a] bass player. . . .
He told me about this place called the Berklee College of Music, and said that you didn’t have to audition. . . . They had a summer session you could attend; that was “Come one, come all.” So I went there and it opened a lot of doors for me. First of all, the ear training — to work on your ear and learn to hear things you’d heretofore not been able to ascertain, individual instruments, chords and where they went, and remember melodies better . . . I’d just thought, either you could do it or you couldn’t. That plus learning about chord progressions and music theory, and which chords sound good going into other chords . . . that was really a revelation. . . .

So I started applying that to writing songs.
Which were all terrible. But you do it enough, and you get better at it.

sustain our progress, we must avoid complacency, consistently produce quality music and involve more institutions in the music industry.

You know that I immerse myself in music, so to speak — that I think about it all day long — that I like experimenting — studying — reflecting.

Then I sent an email to a production company and asked them to take a chance on me as a content producer, because I believed I could do it