The hip-hop producer, remixer and crate-digger on staying fresh creatively, the influence of David Lynch and giving away his most valuable record
Can you share any regrets or missed opportunities from your career? nnagewad
In 1999, I was approached by Deftones to work on White Pony, but I had just come off of Unkle’s Psyence Fiction album. I was nursing a hip-hop image and reputation, so I was wary of working with anything that felt like it was too alternative or rock-oriented. So I missed out on being a part of a pretty seminal album. I wouldn’t say it’s a regret, necessarily, because I feel like my rationale was sound, but it’s kind of a missed opportunity.
Was your move towards sample-free production on your recent albums driven by the headache and costliness of sample clearance, a desire to keep the creative process fresh, or a bit of both? EditorialJoe
Definitely both. There have been times in my career where I’ve wondered: at the end of the day, am I going to own only 15% of my catalogue because of all the samples? So that was part of it. But equally, I became known as somebody who was trying to be on the vanguard of making music with samples but I always knew I would want to make music in as many different ways as possible.
