13 Apr Benny’s Crib: An Interview with Won Pound
Won Pound is a larger than life being. He stands 6’1″ with massive golden hair, and exudes a powerful aura of positivity that instantly draws you to his energy. The Maine production extraordinaire came through to my crib late last month to chop it up, and I was humbled by his knowledge, to say the least. We chatted about the power of the Internet, his progression from Fruity Loops rookie to an Ableton great, the genius of Knxwledge, the rising East Coast hip hop scene, his Block the Wind team, and countless other endeavors. Won impressed me not only with his knowledge of the game, but his appreciation for it, as well. There’s just something in the water up here in Portland, Maine. – Benny P
What is your first memory of hip hop?
“Oooo, dang dude. Honestly, Willenium. Dancing around to Willenium with my family. Cause, I was a baby, I was like: ‘What is this? This is groovy.’ You know, not knowing anything.”
In a couple sentences, could you give a background of the role hip hop played in your youth?
“It wasn’t…overwhelming. At all. Hip hop wasn’t really a thing that was in my life. It wasn’t like my dad was bumping hip hop. Or my mom. Well, my cousins were bumping hip hop. My cousins kinda put me on to it.”
“Yeah, well my age. One was older. They’re from New York. They were bumping hip hop and I was like: ‘Ooo, this is cool. This makes me feel cool.’ But, my brother actually really put me on to a bunch of stuff. He put me on to Linkin Park. They’re not really hip hop…”
“Exactly! Linkin Park itself isn’t really a hip hop group, but Mike Shinoda and his stuff was really kinda the first stuff where I was like: ‘Damn, I’m into this.’ Fort Minor, and he has some solo stuff. He might have had an album besides Fort Minor. But yeah he was kinda the first introduction. I don’t even know dude, coming up with the Internet it’s kinda chaotic. You’re kinda thrown into a world of music and you don’t really know what you’re listening to, I think. Especially when you’re young.”
For sure. Can you think of certain artists, even songs or music videos, that your cousin or brother, showed you?
“Eminem, for sure. I remember hearing ‘Lose Yourself’ for the first time, 8 Mile soundtrack. That was crazy. I remember being like: ‘Wow. You can do this with words? You’re in rhythm like this? What is this?’
It’s almost the feeling of it. The first time hip hop hits you and you get that feeling, it’s unlike any other feeling I think. It’s such a different medium you’re getting influenced by.
“Especially when they’re good at it. When it’s a good rap song, great lyrics.”
Everyone remembers the first time they heard Illmatic.
“Yeah, exactly! Dude, I was late on Illmatic too. I caught someone listening to it and I was like: ‘What was that?’ And they were like: ‘Illmatic!’ I remember listening to it on laptop speakers and being like: ‘Fuck. This is CRAZY!’
Shit is timeless. You mention a brother, was he an older brother?
“Yep, older brother.”
You also mention Eminem, was there anything else your brother and cousins were playing? Any influencers? Or was it mostly just whatever you were hearing at the time?
“I was just kinda taking everything in. There was nothing that really stood out to me. Especially when I was younger. I was just taking everything in. In a different sector, I was really into electronic music and dubstep. I was really into UKF, the YouTube channel. And there was always interesting crossovers you’d get with hip hop, and dubstep and electronic music. And you’d get like cool Biggie Smalls remixes. I can’t really think of a specific moment where I was like: ‘Oh, I love hip hop!’ It was very natural. It just kinda overwhelmed my senses I guess.’
How old do you think you were the first time you heard it?
“Elementary school, if not earlier for sure. But, but I’m not conscious. You know when you’re so young.”
That’s a good point. When do you think you consciously sought out hip hop? What age, grade, what artists…?
“High school. High school was when I really really dove into it. I went into J Dilla. I went into Danny Brown.”
“Yup. XXX is fucking – that’s a 10/10.”
That’s what got me into him too. Well, the Black and Brown EP with Black Milk.
“YO. YES! Oh my god Black Milk, man. There are a couple songs on that are insane.”
Black Milk is disgusting. I remember I found Black Milk through a track he did with Royce and Elzhi, then I got into his debut The Tronic. And them I heard Black and Brown and it was over. Anyway, to get back to Danny, was this early high school days when you found this shit?
How old are you now?
“(Pauses), I’m 22. Had to think about that (laughs). Still in college, about to graduate. Hopefully, fingers crossed.”
Fingers crossed. Let’s get into the craft. Just to kinda get your story, whether it’s Will Smith or what your cousins were playing, the music was always kinda around. Then, in high school you start to realize that: ‘Holy shit, it’s not just stuff I’m gonna be put on. If I go out and find the J Dilla beats, go out and find the Black Milk, the Danny Brown, it’s a whole new world.’ I imagine that probably inspired you to craft on your own? How did you get into crafting of your own instrumentals?
“Well, it was definitely from hearing people like Flying Lotus. First time I heard his rendition of ‘Fall in Love’ – the J Dilla rework that he did on that tape. Hearing how people can interpret other music, how you can take something and turn it into something so unique. And it’s not a whole band. You need a whole studio to do a remix. Nah, you can get into FL Studio or Garageband and do your own thing. Add some kickdrums in there, whatever. I think it was during that SoundCloud era where I was pushed to be like: ‘I can do this. I can make beats.’
And this is in high school you said?
“This is in high school.”
Do you know when you actually made your first beat?
“I mean, I experimented with Garageband when I was really young, when I was in middle school. They had computers at the school that had Garageband on them.”
When did you really to start taking producing seriously?
“Um, probably when I dropped my first, first thing. Macaroni 21. You can’t get that on the Internet anymore, but I think it was the end of my sophomore year of high school.”
Was this in Fruity Loops?
“This was Fruity Loops.”
Macaroni 21 – so anyone who’s got that…that’s a rare gem (both laugh).”
“Someone definitely does have that (both laugh). It’s so bad dude.”
What did that one sound like?
“That one was heavily inspired by TNGHT, which is Hudson Mohawke and…”
“Yeah, HudMo really influenced me in high school. I had never heard anything like that. You know that project with the eagle on it and it’s got the track ‘Zoom?’ It’s like ‘Zoom’ but with zeros and o’s. It’s crazy! Doesn’t sound like a song but it’s a song.”
I’ve never heard that actually. I love Hudson. I love TNGHT. His drums are fucking crazy.
“I remember bumping his shit in class and thinking: ‘What? This isn’t music!’ Then it just comes in and you’re like: ‘fuck…’ ”
He honestly might be…I love Kanye but I can’t even front. There might not be a Yeezus without his shit. And I feel like he didn’t get his props.
“Yeah! Yeahh! I agree 100%.”
Everyone’s like: ‘Kanye’s so experimental on Yeezus…but in reality he was just listening to a bunch of Death Grips, Hudson Mohawke, Evian Christ and Daft Punk a little bit…”
“Arca! Arca was a big influence.”
Yes, Arca! So would you say that FlyLo and HudMo were two early producers that influenced you?
“Yeah, I would say yeah. Almost more FlyLo, but I would for sure say Hudmo. All that crazy stuff. And all the stuff coming out of L.A.”
The Brainfeeder cats.
“Yeah Brainfeeder, and people like MNDSGN, Ras G, Knxwledge…”
When did you find Knxwledge?
“In college, I think. Freshman year of college I heard some of his stuff. I don’t know what tape it is cause he’s put out so many tapes. Yeah, pull up his Bandcamp page.”
Word, I got it bookmarked. Gonna take us a couple minutes to go through his discog (both laugh).
“His stuff is just nutty, yo.”
“Yeah, I think I got into him with Hud Dreams, I was kinda late honestly. I had heard some of his stuff and ‘Momma’ obviously, but I was pretty late.”
“I’m pretty sure I had heard some of his stuff before, but I was late finding him too. Aight scroll up, keep going. God, I love all of these.”
What!? I didn’t know he did Danny Brown flips! I have to peep that.
Yeah, they’re crazy. This one was the first one (points)!
Ooo one of the Gumby ones. I might have reviewed that shit when it dropped actually.
“I remember being upset too. I was like, what is this music!? Why is he doing it like this? He’s got such an interesting ear.”
I think we’re gonna see Knxwledge’s influence explode as the decades go on.
“He keeps getting more and more in his fucking…bag…for lack of a better term. The shit he’s doing now…WAIT! Have you heard the project he just released with Samiyam? It could have been last year.”
“Dude go on his page. Samiyam is another huge influence coming up.”
This one (pointing to a tape on Knxw’s Bandcamp)?
“Yeah, that one. You neeeed to buy that shit. It’s nasty. Some of the best beats I’ve heard both of them do. Samiyam’s Mysapce stuff…Rap Beats Vol. 1. That changed my life for sure.”
When I found Sam, junior year of college, I was like hollllly fuck.
“He’s so clean. His hi-hats, his compression tactic is really cool…”
Have you heard the joint he did with Earl?
“YES. YES! Yo! The friggin Earl album that dropped is one of the best albums I’ve ever heard.”
Some Rap Songs?
Dude, when it transitions from ‘Azucar’ into ‘Eclipse.’ That may be the most powerful three minutes of Earl’s career. What does he say: ‘Total eclipse… of my shine that I’ve grown to miss, withholding shit in…”
We’re getting so off topic, but I’m glad we are. Yo, fuck this interview, let’s just talk about hip hop all day (both laugh). Alright, so it sounds like you got your influences. You got FlyLo, you got Hudmo…
“Oh! Someone else that was big…Call of Duty videos. I loved watching montages.”
What game is this? Modern Warfare 2?
“Modern Warfare 1.”
Oooo COD 4.
“Yeah COD 4. Specifically on the PC. I loved that shit. The editors who made the videos were heavy into hip hop and the beat scene. Really influenced me. They put me on too a lot honestly, I wouldn’t have known about any of those artists. There is one blog specifically called Musigh. Honestly I don’t even know what country they are from. That blog put me on to sooo much. Sinjin Hawke, Greyhat – who’s a local Maine dude. Greyhat was a huge influence for me. Shoutout to Greyhat. He’s one of the most talented musicians around. His sounds are just next level. The way he does harmonies with his progression and the sound design, it’s epic. What we were just talking about (laughs)?”
Just talking about the high school days and inspiration. Sounds like the Internet was huge, the Digital Age was starting to hit and you drew inspiration from a lot of people. So were you steady producing in high school, was it a daily thing you were doing?
“Nah, it got more stready towards junior year and definitely more senior year. I was experimenting and thinking about it every day. I’d get out of class, out of soccer or whatever and just stay up.”
Then you get into college.
“Yeah, that’s when it really started getting nuts.”
Where do you go?
“University of Hartford. It’s a weird school, I love it. I’m studying audio engineering and technology. Learning a lot, it’s pretty cool. I would recommend going to college but also not recommend going, cause it’s kind of a trap.”
If you have financial aid and you can learn without being in debt, definitely try and make it work. But don’t be one of those people – actually I don’t like telling people what to do with their lives – but if you’re like ‘I’m going to get a $200,000 degree in Concentrated Thinking, you gotta pay that off though! There’s like 30% student loans too! You gonna be fucked.
“Concentrated thinking (laughs)! It’s tough yo. It’s fucked up. But yeah yo, freshman year I started going nuts.”
Talk about it, whatchu mean?
“So, I saved up and bought Ableton. My job growing up, I sold lobster at Day’s Crabmeat and Lobster.”
That’s the most Maine shit ever. You flipped your lobster money into Ableton? Noooo way.
“Yeah, I sold lobster. Do you know Nick Gensio? The artist? We worked together, that’s how we met.”
Yeah, he did that portrait of Aull right? Dude is dope.
“Yeah yeah yeah. My first job was picking lobster, and that was his first job too. One day we were just like next to each other, picking lobster together. Pulling the meat out. Friends ever since. But, yeah, worked at Day’s. Sold lobster, made money. Bought Ableton when I went to school and used the student discount shit. And I got a Push controller at the same time, so it all worked out. Fruity Loops was tight, but I wanted to play the instruments moreso, and I felt like Ableton allowed for a more expressive flow in that regard. In terms of natural sounding music. So my buddy Odie – good friend, amazing musician, amazing engineer – he put me onto Ableton. I would go to his house a bunch in high school and he would just show me around Ableton. He honestly put me onto the crazy L.A. beats scene and other people. Pretty sure he put me onto Sam…changed my life.”
So this was freshman year of college when you made the switch to Ableton?
“After being in high school with Odie I was like: ‘I need Ableton.’ And I just started and initially it was super frustrating too, cause I just started getting my footing in Fruity Loops, and there’s a crazy sound selection in Fruity Loops. There’s a bunch of native plug-ins and synthesizers – you can make huge sounds in Fruity Loops. The Ableton stock is really nothing. Like you get into it and there’s minimal effects, minimal instrumentation, and you’re just kinda stuck, in comparison. So I was wicked frustrated.”
How did you work on that?
“I just kept making beats.”
“Every day. Every day I was figuring it out.”
How did you then start to refine your sound as your college years went on? Even in the summers.
“Umm, just multiple beats a day. Every day. Honestly, there’s never really a method to it. Yo, that’s when you really start hurting yourself. ‘This is how I make a beat. You put in a drum rack. You lay down the drums. Or, you get a sample first and chop it up. Imma get this sample and chop it up.’ Thinking like that, that’s how you go crazy. That’s when you start making horrible stuff.”
Too much expectation.
“Yeahhh, right. And you’re thinking: ‘This doesn’t sound as good as it did the one time I did.’ And you start beating yourself up over it.’ But, there’s better ways to go about making music than just doing the same way every time. Because, you go crazy. You get lost in a hole and it’s hard to get outta that.
So you almost let the vibe hit you, and think: ‘What do I want to create today? How do I want to express myself?’ And then see where it goes from there?
I wanna talk about too how you cross…actually, real quick, how would you describe your own style?
“Dawg, I don’t know.”
I like that. You just make beats and that’s it.
“Yeah, I don’t think about it.”
Fuck yeah. There’s this weird thing, I don’t know if it’s a Western thing or a human thing, but…it can be good to organize, and put labels on things. But, the more you do that, the more you put yourself in a box, right? We gotta be able to be fluid and be like water and shit. And just go anywhere, I think. So I think it’s cool that you box yourself in.
“Exactly, mmmm. Yeah, I don’t even know.”
That segways into the next question though. You did hip hop shit for sure. But, you also do a lot of electronic stuff too. How do you cross over between the two so seamlessly?
“I don’t know. I don’t think about it. That’s like the…(pauses). I don’t know. I don’t think about it.”
What do you think draws you to the electronic scene?
“It sounds great. The way the bass, and the snares, and the hats and the effects – all that stuff. Inspiring, I don’t know. You can paint anything with a synthesizer. That’s the world’s biggest canvas. You can do anything. You can make drums, you can make bass. You can be in Space. You can shoot some lasers. You can make rocks fall down a mountain. You can make rain drops on leaves (both laugh).”
Yooo that’s wild, man. That’s gonna be a quote!
“Yeah, I don’t know!”
Ah, yo, that’s dope as fuck.
“(Claps hands and laughs).”
You said you’re a senior now, right?
Looking back, I mean, how would you describe your growth from freshman year… your friend Odie isn’t there any more. Fruity Loops isn’t there any more. You in a different state. You got Ableton. You’re like: ‘Fuck, this is hard. But I wanna do it.’ Looking back, how have you grown?
“Oh, man. It’s crazy. Like, everyday I grow, I think. At least, I try to. But, I can’t listen to the shit I was making freshman year at all. Or, even the shit sophomore year. Honestly, most of the shit junior year I can’t even listen to. Like, I mean there’s some good stuff. But, I feel like recently the stuff I’ve been making sounds good. Not, I mean, you know if you’re making a bunch of beats 80% of them are gonna sound like shit. But, if you can get it to like 20% sounding nice nice, that’s all you can really ask for.”
That’s another good segway into the now. We’ve heard about your upbringing, your high school producing, and then how you solidified it into your daily routine in college, but I actually found about you through your latest album Post Space.
“Yeah, oh yeah.”
And I was impressed by that. Because, like I said, it balances the vibes, the drums, the synths of electronic, but has that bounce and accessibility of hip hop. And, I’m just interested too in the fact that you almost drop 2-3 tapes a year it looks like. What was the inspiration behind Post Space even when you are consistently dropping stuff?
“Post Space was a pretty cathartic thing. Again, I just needed to put it out. I wasn’t thinking about it. It was one of those things that just kinda came out. I made it in like three months, in the composition aspect, but the engineering took way longer. Just cause you gotta, that’s the hardest part. To make it sound good.”
Do you, since you’re studying audio engineering, do you mix and master your own stuff, too?
“Yup. All of it.”
Fuck yeah. So, that’s a lot of work for sure then.”
I’m interested too in the artwork of your work. Cause you got some dope ass artwork consistently. Do you do the artwork, as well?
“Uhh, the older stuff is by my old friend Kyle Bissell. He lives in Boston right now, he’s a good friend. Extremely talented artist, everyone should go check him out. But, recently I’ve been taking photos that my grandparents have taken, like old film shots, and zooming in. The Post Space one my dad took actually. I just cropped it and zoomed it. And then like added some shit to make it a little more cohesive looking with the black background.”
That’s so fucking cool, yo.
“Yeah, my dad’s iPhone pic. It was somewhere over in Portland, I forget where he took it.”
Family is a huge part of your life, as is music, it sounds like.
Bet. Let’s then just talk about how you continuously drop 2-3 tapes a year. Talking to you, it almost just sounds like you have to do it. In your mind, it’s a form of expression and you have to do it.
“Yeah, um, I’d like to do more honestly.”
On some Knxwledge shit.
“Yeah, it’s hard though. You get attached to some beats and you’re like: ‘Oh, this is gonna be on this type of project.’ And you just keep making more beats and that type of project just fizzles away. And you come up with a new one and that fizzles away. It’s hard to, like, grab it and go with it. Cause it’s a train…it just keeps on going. It’s hard to look into the windows and see what’s on the inside a lot of the time. When the beats are coming, it’s beyond me. I feel like that’s with any art, though.”
I think I know what you mean. You’re almost like, a muse, and you’re just accessing something higher.
“Yeah, I’m just controlling something. I’m just, you know, when the final product is there, I didn’t do it. I kinda black out (pauses).”
I know what you mean, though.
“It’s a zone, you get in the zone.”
You can feel what you’re doing, but you’re not consciously planning it. That’s the best expression, really.
“Yeah, yeah totally. And, like, a lot of the time that mentality is bad for cohesive projects. Because it’s so, you’re, you’re making that one song. And that’s the only song you’re really thinking about. Which is why Post Space is tight. Cause it was kinda like a fill-in-the-blanks. I made first song and last song first, and was like: ‘Oh, I’m gonna do this’ and kinda went for the same angle on them. Which doesn’t happen often.”
Are you proud of how it turned out?
You should be, cause it’s fucking good dawg.
“Thank you, thank you. Thank you. I love Post Space.”
That’s awesome. Let’s keep it in the present then. Cause I got a good view of your upbringing and how you got to this point now. But, what do you think the hardest part about being a producer in the digital age is?
“It’s hard to really answer that, cause I don’t really know anything else. Um, probably like, nah…I don’t know. It’s, if anything it’s easy.”
I was then gonna ask, what’s the easiest part?
“I mean, inspiration. Ah, equipment. Digital equipment, as in like sample packs. But, inspiration, it’s everywhere. You can just go on Soundcloud and hear some shit and be like: ‘Oh yeah.’ You can be listening to new music for hours and not remember a single song title and just like take in all these super creative people. Inspiration is everywhere.”
The beauty of the modern Internet era is that we’re so connected, and you can find influence in so many places. Do you think there is a saturation of beats and producers, or is there just too much dope shit being made for you to even focus on that?
“I think about that a lot. You have to. I don’t know. Sometimes it’s overwhelming. I mean, even answering the questions with past artists. I couldn’t even, honestly I would have to sit down for an hour to think about who influenced me as I grew up. Cause there’s so much shit happening with music all the time now. And you get your brain loaded. Soundcloud, Bandcamp, Spotify, iTunes, YouTube – but yeah, I think it’s hard. If you’re trying to get into a specific scene you just gotta happen upon it.”
Which current producers are killing it the most in your eyes? I know we mentioned some names like Knxw and FlyLo, but is there anyone…like, any time Kaytranada drops something I’m like: “What the fuck dude!? This is not even fair!”
“OH yeah! You gotta pause anything you’re doing when Kaytranada drops.”
I wanna, like, rent out a place somewhere and be like: ‘Real ones only. And we’re only playing Kaytranada all night (both laugh).
“We should put his Boiler Room on (laughs)!”
Straight up! I wanna go out and hear that. I don’t wanna hear ‘Tipsy’ for the 50th time in my going out experiences. They should play more Kaytranada up in this piece. But are there any producers in particular who hit you like that right now? It’s all good if you can’t think of any.
“The Hugwrm people for sure. All of them. All the East Coast people. All of those re:sample dudes. Kiefer!”
“I mean, anything Stones Throw is putting out right now is crazy. But, Kiefer specifically is really tight. Uh, Devin Morrison. MNDSGN. Ah, fuckin’, Pink Siifu.”
Oooo. He’s disgusting dude.
“He’s nasty. Ummm, who else is killing it? All the Soulfolks people too…”
“I mean, I could talk for hours on this.”
You’ve been opening my mind up to a whole bunch of shit.
“I’ll put you on, man. There’s sooo much good shit.”
We gotta make each other playlists or something…
“Yeah, I would love to!”
That’d be so dope (both laugh). I wanna get into some rapid fire questions now if you’re down.
Early mornings or late nights?
If you could get one singer and one MC on a track, over your production, who would they be?
“Dead or alive?”
Dead or alive.
“(Pauses)…Oooo. Sade and Mach-Hommy!”
OHHHHH MY GOD, DUDE! I was just playing Sade’s greatest hits at work today and, oh my god, that would be SOMETHING. Gotta make that happen! We gotta make that happen (claps hands)! Favorite go-to snack when you’re in the zone making beats?
“Ohhh, damn. Goldfish. But the original kind. The Saltine flavor.”
The OG, the classic orange cheddar?
“No, not the cheese flavor!”
You mean just plain?
“Yeahhh, the Saltine flavor.”
Ooooo. Fuck yeah. Madlib or J Dilla?
“OHHHHH, BRUH! Bro!”
It’s that Jaylib! You gotta pick one, man.
“You can’t do that!”
This is the hardest question.
“Madlib…I think. I don’t know, that’s fucked up.”
That’s fair. This is a fun one…if you could only sample one artist for the rest of your life, who would it be?
“Eddie Gomez, the bassit. He’s played with a million jazz artists so you could get a Bill Evans sample, you could get a Coltrane sample. He’s the dude. But yeah Eddie Gomez because of his catalog.”
Fuck yeah. That’s the end of the rapid fire, I hope you liked those. Now I’m gonna bring you back home. How do you feel being apart of this Maine hip hop scene? Your definitely one of the faces of the production scene here, and what’s that like in your mind?
You think about it at all, or are you just kinda living and enjoying it?
“It’s everything. It’s my life right now. Maine in general is home base. It’s awesome. I mean, I can’t see my life without Maine. So, it’s beautiful that there is a growing scene. Like, with re:sample, Soulfolks, the growing scene has been super inspiring. And, you know, it makes you feel at home. It’s nice to be surrounding by like-minded people. The Northeast right now is really exploding and it feels good. And it’s nice to say I’m from this area. And I listen to these people. And I’m around these people. It’s everything.”
The Northeast got something to say.
“It’s gonna blow up. I think especially yo, Portland. Portland and Maine in general.”
Legal weed. The food scene. It’s on the ocean. It’s over.
“What more can you want?”
You can’t. Block the Wind. Honestly probably one of the most slept-on camps in the East Coast. Between you, Ben, Jack…whether it’s art direction, whether it’s production, whether it’s stage presence. How do you feel being apart of this Block the Wind team? Maine means a lot to you. Family means a lot to you. Hip hop means a lot to you. And Block the Wind is kinda a mix of all that.
“I mean, it’s family. Block the Wind, I grew up with those people. That’s everything too. Family is a huge part of my life and all those people involved. The festival and everything around that goes along with Block the Wind is amazing. The meetings we have, it’s just like hanging out. I can’t see my life without any of that.”
Sun Tiki. 4/13. Coming up. How pumped are you for that re:sample show?
“Soooo excited! I’m gonna be playing some loops, some fire loops. I’m gonna be playing some crazy shit, for sure. I haven’t played a show in Maine in a while, so I’m excited to debut the stuff I’ve been working on this semester. This has definitely been my most productive semester at college, music wise. So, I’m excited to showcase a lot of the stuff I’m doing.”
Hell yeah. And it’s a local outing, and it’s Chan’s first show back in Maine.
“This is gonna be my first show with Chan too, which is tight.”
Bet. Wrapping up here, any plans for 2019 releases? You don’t have to be like: ‘I’m for sure dropping this album, coming out in August.” But, are you thinking of dropping one this year?
“Hopefully, hopefully. If I can get around to it. I gotta put out a beat tape. I got wayyy too many beats right now. I gotta do something with it. I just gotta not make beats for a week, not listen to any beats, and then listen to my beats and organize my thoughts, I think. I mean, I have probably like 20 beat tapes right now. I don’t have one I’m really stoked about, but I might just start dropping them.”
Fuck yeah. So fans can expect more Won Pound in the coming months.
“Yeah, maybe less than that.”
“I definitely have something coming up.”
Fuck yeah. And like I said, I’ll take any loosies for the RhymeBeat compilation tape. Anything.
“Yeah, yeah! I have soo many beats that I would love to contribute.”
Straight up, man. We gotta let this shit shine.
Well, man, I got my last question unless you got any loose ends you wanna tie up before you go.
“Yeah, I don’t know. Work hard. Don’t stop.”
Cooool. Where will Won Pound be one year from now?
“Ah, shit. I don’t know. Playing a gig in your city. Wherever you’re at!”
Love that. Well, thanks for coming through and chopping it up.
“Thank you for having me, dude. This was tight.”
This was tight. A lot of knowledge being shared.
“For sure. This was fun!”
Post Edit: After marinating on his influences a bit more, Won reached out to me to shoutout the following names: Shlomo, Jonwayne, Com Truise, Death Grips, Flatbush Zombies, Mick Jenkins, all of Odd Future, Spark Master Tape and Aesop Rock.
images via Mr. Garrett Clare
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– Benny P