The fans really wanted some new instrumentals from me, and I don’t want to give it to them with nothing on it. You want people to hear what you’re doing, but it takes so long for the artists to put the music out.

You want to put out beats, but you don’t want the whole world rapping on it. On this new track, you take the reference to the next level, and sample dialogue and other elements from Kill Bill. It’s weird: it’s like banging trashcans together and getting angels to come out that motherfucker. If you really listen to the beats, we just put a whole bunch of sounds together that wouldn’t match, and make them match. A lot of people shit be sounding real soft it don’t be that real thump. I think people shouldn’t even get the shit confused, because you know when you hear those real 808s. But you know your sound, you know who’s making this shit. Have you heard it on other people’s stuff? They’ll call me back like “Shit, where’s the sound bro? We need the sound before we put the album out.” “Oh, I want the Kill Bill sound, I want the Metro Boomin 'Want Some More' sound.” If I’m on a album, and I don’t send that sound in, they don’t want to put it on the album. You can just predict which producers you want to fuck with when you come down here. may have a recognizable style, but there hadn't been trademark sound effects like that in a while.Ĭause you know, we make so many different styles, so we want everybody to know who is making this new style up. Atlanta producers really made those tags an important part of beatmaking.

Tm88 making a beat