BROCKHAMPTON's Kevin Abstract

00:00:15 Speaker 1: Pushkin. Before we get started, let's talk about Pushnick. Pushnick is a subscription program available exclusively on Apple Podcasts. Subscriptions members will get access to bonus content like extended versions of Our Beastie Boys and Brian Eno episodes. You'll also get ad free listening to many of your favorite podcasts like Revisionist History, Cautionary Tales, The Happiness Lab, and Ours Broken Record. You can try it for free for seven days. Sign up for Pushnick and Apple podcast subscriptions. I do this all you. Brockhampton's original members formed after posting on a Kanye West fan message board and started making music in the Woodlands, Texas, a pretty unassuming suburb of Houston. Since that time, they've turned the idea of a boy band on its head. With as many as fourteen members at times, Brockhampton's deconstructed the traditional pop star rap ethos by being unapologetically inclusive of racial and sexual identities and not letting any one sound define them. Today, Brockhampton's frontman Kevin Abstract, talks through the group's sixth and latest album, Roadrunner, New Light, New Machine, with Rick grouping in an effort to recapture the spontaneity of their early career. The group all crashed together at Kevin's house while recording their new album, We'll Hear Kevin talk about how the projects slowly evolved from a pop album to something darker and more rapp driven. Kevin also explains how supporting one of the group's members through losing their dad became the album's creative thrust, and talks about why their next album will probably be their last. This is broken record liner notes for the digit age. I'm justin Mitchman. Here's Rick Rubin with Brockhampton's Kevin Abstract. What's been going on since the Sunny Lads? The last time I saw you had like a super early version of the album, and then we just started working super hard on it right after. Even then, I remember you had already been working on it for the longest ever. Yeah, like two years, which is a very long time for us. Yeah, because usually it's like, who's been six months at most? Like that will be long for us. So two years was a lot. But you were so excited off of the like the more rap driven stuff. Yeah, so may it's just like going and make a bunch of rap stuff. It seemed like you had the same Like when we were listening to it together. I don't think I was alone in feeling that, Like I felt like I didn't know it seemed obvious. Yeah, I agree. It just felt right, just new for us really because the last album we put out, our biggest song was like an R and B song, So it was fun to do something that was like super left. It was more challenging too, in the group songs, how do the again, because there's so many voices, How did decisions get made? How does it end up being whatever it ends up being? Everyone shows their ideas, Yeah, how do you do it? Keep the mic on, and if anyone has something to say, you just record it and we'll record all the ideas, everyone's ideas. No one's like left out of that process. And then then basically me and Romel will just sit there and go through it and be like, oh, we think the song should be like this, Like this, like a thirty two bar verse you did might make sense if we chop it up and turn into a hook or something and then maybe rerecord it and then it feels more like a chorus or something, and it's kind of just like just pure expression. Fun letting everyone just do their thing whatever you gotta say, you know, and at that point in time, would the song have a shape yet or it would just be like a long track, a long track, maybe a loop. I love starting without loops, you know, just like a a vibe and then just throwing ideas at the wall freestyle and passing the mic around like just fun shit like that. And if you before editing it, if you were to listen to all of the ideas, might that be an hour of ideas or ten minutes of ideas? I think it depends on the energy of the room. Like if people are really inspired the day, it might be like hours. Yeah. Sometimes people will be freestyle and they nail their whole like idea within that freestyle within like thirty seconds or something. So it really just depends. It's an amazing ability the freestyle, Like to get the freestyle that feels like I wouldn't touch it right, and then it's incredible. When I was a kid, someone told me, one of my friends told me that Dre used to like let Snoop just freestyle and then Dre would just like cut up the best parts of the freestyle to make a verse. I don't know if that's true or not, but like I just held on to that for so long and applied it to just making with Rockhampton. It's pretty fun, really cool. Let's say you hear all the ideas and then you have a vision of what it's going to be and you edit it down. Might then someone come back around and say, Okay, based on what it is now, I have a new idea and I want to ed it in. So that happens sometimes, Yes, that happens all the time. And how often does the music change from the beginning, from the when the vocals first, when the vocal ideas first go on the track? How often does the music change after that? Almost every song? Really? Yeah, almost because it happens to me is like I'll like it when we're making it, but then like this feels kind of generic or feel stale. I think it's because I hear it for so long in the room on loop where everyone's writing, and I'll just be inspired to like take it to a completely different place, which sometimes doesn't make sense, and then we stick with the original. Yeah, so that's why I like, sometimes it stays there, but usually we always end up somewhere else. It probably has an interesting effect on the vocals too. When you write to one thing and then change the music, I imagine it could bring out something different in the vocals than was originally there always Yeah, and sometimes it sounds awful A little bit about like that too. Yeah, it could be it could It could really make sense in a in an awful way, cold interesting. Maybe we start listening. I'm really I'm anxious to kind of hear where it ended up. I ge my mom's though in the same house my dad died in all alone. Trying not to be paranoid, trying not as they're calling it. Every headline is a reminder that the world's fucked. So I'm just trying to see the light in between the clouds. Still love that sunshine of When I look at myself, I see a broken man rimmingtop my pots, put the glop to his head. Nothing ever go as planned. Couldn't make amends forcibly pretend. I don't give it. Damn at a loss, aimless, six feet deep, suffocating, can't face it, can't change it, ain't make it, master plans, father maker. I see no safor over reflection. It is sainless, still alcohol and pills, deadly combination, left with nothing else the middle of floral Haven. Hope it was painless. I see you in the faces places, and I make it. Reflections off the broken here, fragments of my fiends let ring back like who's there. I can't stand myself beside myself. I see you there, I know you care. Felt nothing since September when I heard the news. What I do to speak one last time? I think I always will be haunted by the women shumper, bloody backdrop, school, fragments in the ceiling, through your presence in the room her My mother is squilling, master up disguises, ask the ass dust to dust. Boys behind my eye, livest blacking out, bleading out, silence longer than it, twist tup, lying as thick as our secret, shadow, people and needles they can do with people. Then comes sorts to purgatory. I miss you for the record. I can fly around the world a sorry, lying something, sending something change and sexist. I guess I've missed a message. Look, I missed my exit. I'm living like the chests said. I was broken, desperate, leaning on my best friends, only shot college. I was around with bards, tended, ain't gonna loving his game in mind. This is na tennis. Take your shoes off. We just did the kurd pitson. I can take the hacking, I can take the praising. It's all enjoys to me. I'll turn them to say, y'all soogetting the matrix, rid meal, blue peel on these different faces, on these different cases. She gotta see me naked. So I'm aware when I went down and I ain't been a faking ain't gotta me the ain't got I see God. Last summer I was sitting on the bridge. I see all y'all under me. Know y'are struggle, lin It gets out here shugger ling who's in jobs? When who's in God? And everything is super link feel heaving, rubbing, legal raptures coming. I love the attention. I'm a bad sitting public. I'm still struggle with selling my mind who I'm in love with some those seas in between wadies, i'mons bleed. When Thanksgiving come around, I still don't see him. But Christmas go around there, y'all still don't see him from the world. Who I was before I got to know Eve. To give my people money in the shange for the freedom I would give me God back for a chance free him? Where did the sample at the beginning the talking sample come from. I was listening to two thousand and one by Dre like every day while working on this album, and I think it's the beginning of fuck You. There's like this us, this girl talking on the phone, and as though it would be cool to have let the audience know this is like where the journey starts, where the story starts, like really with the album. So I just called Joba. He's on the first verse, and the album's pretty much about him losing his father basically, and us being there to support him and like following him towards the light and him sometimes following us towards the light, like just this idea of brotherhood and all that kind of stuff. So I just called him and just put the phone next to the mic and like interview them and talk for like twenty minutes kind of, And then he sat with us and we picked the moment that kind of like summed up the song the best and then just made made so much sense. It's so cool and it just feels so personal and real, and he was getting very very honest in the call. It was feeling just walking around like you feel it, smoking, talking, opening up. It was very beautiful, very beautiful, and I love the music. It's so cool. Sounds like what was the inspiration do you know? For the for the music? The original song was like eight minutes long, and everybody was on everyone in the group, and it was it was very hard, but it was slow. And then there was this moment where where Job's verse, when I heard it, was like, it'd be cool if it just like if we got super like sixties like rockish and like a full on departure from what the original song was and originals like a kind of like nineties rap, but like modern drums on it, like mood wise, And we all ended up liking Job's verse over this like rock sample so much that we just ended up making the whole song be that. And then our friend Bared him and his brother like redid the sample in terms of mood. They made like a new version of it, and that ended up being that song. And that's that's my favorite on that too. It's so cool. It's so cool. So it reminds me like an Italian horror movie, you know, like sixties Italian horror movies. Dario Argento Mario Bava, those kind of movies like from another like from another time and from another place, but rock but from another place, you know, like if it has that international flavor, that's cool, it's really cool. We had retro futurism written out and we had that on the wall on the studio, and that's kind of like the idea. So like if you hear the album or like the videos, you don't really know what time period is from. It could be like supermodern, it could be assalgic, like a mix of it kind of wanted super cool and it sounds almost like retro sci fi like, look, that could be a sci fi music from a seventies sci fi movie. Yeah, that's also the other thing we're chasing. Cool that you hear that. Yeah, if you feel it, it's great. Shoot the next one, a million metal piece, all that up to nothing, lady, swim with it, my bast shie, something like a salabration. We'll see a gage. We'll see a gage. I know, my sweet, I could see this house and I if I can swallow my pride with you and me when you roll and it's easy to just skip it flipping out and you girl, maybe I wouldn't be so pissed when you came for my group, getting the only kitchen table. Make sure everyone know I made my Sunday mornings feel like Friday nights. I'll be like booming my house and any Friday lights, ready to pounce on any pussy. Ain't spitch, come for my life. I'm kind of ballad day. I'm trying of wondering what the funk I gotta notice seeing you you ain't any ship for years. I can't be and see you. How to speech with saying come on my hands. I brave everything I say't be getting enough. You feel pieces fall out to nothing, swim within my best sheets. It's something like a celebration. Let's see engaging. We'll see engaging. I stay running from something I can't see, true colors, blinding fuck away from me, going in for something I don't need. I leave to lives find me. Who's to blame? Who's to say? I leave, forced to change, forced to face my seat break, a big breaking in timely but on my home. But I've been feeling a lot. I gotta go. Don't ask why watch the dollar nose and the dun fly either way goals scribbled out of line get on the shots pieces my best sheets, so we see so cool. Thanks great, That's one of my favorites. It's really unlike everything else, but it still fits in as beautiful. I love it. I think it was just it was a loop. I think like Romel had a plan and Joe was just there on the mic and like he showed me as his verse in the hook and I don't think he knew what it was yet. Dude, already have all the guitars on it now. All the guitars were just like it was a I don't even know if what was playing like stayed on the track because we redid a lot of the guitars and stuff. But it had a rock feel like this not even it was very like indie bedroom Phil. Yeah, you know, like there was like a drum break and uh and like a lead guitar and I think we're all just like writing so that it was moodier. It was closer to like the how the song kind of starts. It's so cool, and also the songwriting styles really different, Like it's not rapping, it's not pop, you know, it's like it's just a whole different more rock really, but it fits that's like just what I want to hear from us. It works. Thanks. We'll be right back with more from Kevin Abstract and Rick Rubin. After a quick break, we're back with more Rick Rubin's conversation with Kevin Abstract. But first, here's their new song when Eyeball from Roadrunner, New Light, New Machine. My mama said, I did ain't coming to the square. I would see us. It's that I'm welcome. How I open eyes and open a few things that couldn't be repaired. We saw shut up fair. Some things you don't get to the side of just the face you share. I used to try to hold the weight that she would need to bed. Why shaw was going on? They came for a couple of years. When they came back and needed the clothes, I had no souvenese. I pick up the phone. They're calling us from correction. But nothing is wrong. It's feeling my heart with questions. My mama saw them following my heart expressions, the dropping a tongue. Some things that she had to mess you. I nodded, I listened. She had at leamya sent where you want your own It's gonna be some directionous I need you to follow, will never again exception. I nodded. She helped me and wished I would be protective. I can be anything I want, always used to. I can be on my sucker friendship. Since I was a feitis pulling up at the dock in the minds to six or six and my dad was tripping back in against her contacts. Light blue in the bag, mamma getting labor paint drop. My sister in the bows like house was twenty three sweat tripping down the Faceide river, running free don moning with the farm pointing in and out the trees every moment through their eyes seeming zoom at lightspeed. Before me, she lost was still on tragedy, gritting the teeth down to the roof, paint like a cavity, poning hands like the glue. Radio Channel one news Valentine's with an ex up on the calendar. They n I would be a fucking bullet, lightning posters on the wall, A little stain could be the beauty in it all. The midstarted trouble. Most get luck was rubbing noll, sticking to your light mass. You might kate, you might bra for hever. Sound strings are so cool, really cool, that one's different too, because the beat was just sent to us. It's Chad hugo, wow really, oh this is this is cool and we killed it. I love it. It's so good. We had lyrics for we had the lyrics already for the verses for another song that we couldn't finish, and then Dom had the idea of just putting this verse on that track. And did it come in with all of it like all like that? Yeah? I think the only thing. Uh. I think Baird did some additional like drum programming on it, and then I think Chad wanted to like add some strings at the end, like live strings, but we ended up liking the program strings more. It's so good. It's cool because like it feels like it comes in hard hip hop. Yeah, but as soon as you hear the chord changes, it's got this like wistful energy, completely different and the two together makes it really new. So good, so good, and the strings are great. Love it. Good work. Chat. When you first heard the track, did you know that you want to do something with it? I think it scared me at first a little bit because it I'm just so used to our sound. Yeah, you know, so hearing something that is out of our world a little bit. There's some fear there, and then once I realized I was scared of I kind of like just leaned into it, and this will actually be kind of cool on the album. It's great and it sounds really good coming after what it came after. It really works in the sequence. It's good man, beautiful song. Thanks. How the lyrics typically come to you, I guess I usually follow the sound of the track, and like whatever emotion the track pulls out of me, I'll kind of like lean into that and follow that. Will you start with cadence before you start thinking about words? Usually always cadence or melody. On this album, I was thinking about the words first. Actually just again just trying something different, saying where I would land? You know, would you write lyrics independently of writing to the track, Like would you just write if you hear a phrase or if you come up with a phrase, would you have a note of I think I would hear like we'd all be in the room together, the track would be planned, and I would like just leave the room and walk around the house or the neighborhood or something and just like think of lines that felt true to the emotion that the track pulled out of me, you know, and that and I wasn't thinking about cadence though. I was just thinking about like what do I want to say and what does a song need me to say? You know? And am I even needed on the song that kind of thing? Which would be helpful though, because then once I had a better idea of what I was trying to say, I could go in and listen to the other verses from the guys and give a more like useful critique, constructive. It wasn't so like do I like it or not? Different, different approach for me. And it starts with you writing, how do you decide whether it fits into the Brockhampton world, whether it fits into Kevin abstract solo. I think it's an emotion thing as well, like emotionally, if it feels like so true to me and something like like more personal, more personal, more vulnerable, I might want to save it for my own thing. Makes sense. Personal statement, Yeah, that's what your album is, makes sense? Yeah, But sometimes I like being super personal in the group stuff too, because I feel like the guys like protect me in the way, you know, and like having them like stand next to me makes me feel a little bit more comfortable with saying something that I might not be comfortable with saying on like a on my own song or something interesting. So in general, on this album, the lyrics always started based on the music. Like you'd hear the music, you'd find the emotion in it, and then you think about what you want to say and then it would build from there. There's some songs where it was like, I want to make a song where like I where there's like aggression, and we didn't have the track yet, so it was just listening to a bunch of music and then you find that one sample it's like, oh, that's it, you know, and then I can go and write my rap based off that I see. It would always be the energy. It would never be like the words or the or the phrasing that you would have in advance. It would be more like the emotion. The emotion, and then you would find music that captures that emotion and then write to that exactly. It's interesting to talk about because there's no right way to do it. Everyone finds their way in and sometimes when we're listening to music, knowing what the artist was thinking or what the process is just gives more like I wouldn't say it changes the listening experience, but just maybe can deepen it. Yeah, my first goal is to make a pop record like just like big pop songs, super melodic, fun and just like summertime, because I feel like the last one was pretty sad. And then as a year went on and got all crazy, like I just felt like I want to do something I felt that represented life more. So it just became like a darker, more like rap focus album. And I was listening to like a lot of Dre and BC Boys and stuff like that, and I was like, this could be like way more fun, way more interesting, more challenging. I remember when we talked about early we had a conversation when we were asking about about if you made a pop record, how could you make it where it's interesting and challenging, And we talked about I remember the conversation, yeah exactly, that it'll be fun whenever you get to crack that code, that will be another great thing. Whenever that happens. I kind of want to do that for the next one. Was Yeah, the next one is supposed to be our last one. Tell me about that. I don't know. I think it's like I don't want to overdo anything, and I don't want to end the group, but I want to like just stop putting out albums as a group and then let everyone just go off and do their own thing and maybe in a few years we come back if like we're inspired too. So it's not a breakup. It's more just let's not do this for a while. Yeah, or maybe let's not do this ever again. Yeah, we'll see no future plans, right, how's the general consensus feeling about that? Are people excited about it? Are afraid? I think people are excited to get out and just like do their own thing because the group can be restricting in that way creatively because it all has to like filter it through me or Romell. So I feel like creatively some people are like held back at times. They might want to like do this super like trap focus song, and it doesn't make sense for the current aesthetic or the album or something you know so or a super pop song or whatever you know, So it'd be cool to like just see where everyone goes. Is everyone's still living together or no, not anymore for this album though, we did it at my house, so it's cool. We all were like under the same roof, air, mattresses and all that stuff. How would you say that the group has changed over time, like from the early days to now. How would you describe the differences. It's not a good thing to say, but oh it's say it's less fun making music, for sure, you think because it's less new. I think so. I think it's like, sorry, we're getting together to make an album. But before it was like, oh, let's make album. It's gonna be crazy, like what's gonna happen? You know? Yeah? Why else might it be? Yeah? I guess it's just not that fun sometimes when it's like making an album because you know you have to make it, isn't like it just doesn't feel the same. You know, you don't have to make it if you don't want to know, I know, which is why it's like this should be the last one for a while. Would you say, creatively, anyone's grown apart or no, it's just it's just we've done this creatively. I don't. I don't think. Uh, maybe a little bit, but not in the like, not in a negative way. I feel like in general people are just growing apart, like just getting older. It's not the same because we don't live together and we're not like always hanging out and talking like the way we used to. So definitely feels different as a hard thing to navigate because we want to keep doing it. It's just like not as exciting. Yeah, but the end result always makes us very excited. Like once we get through and when we listen back, it's like, wow, this is it's amazing, this is fun. It's a lot of work. Yeah, it's a lot of work. And I can see how that, like the more you do it, the less fun it could get, makes sense, especially with so many people. Yeah, you know, and I want to make everyone happy, want everyone to like the final sequence, to like the artwork everything, so and he just gets like draining. Sometimes it does seem like if everyone likes it, it's probably better, you know what I mean, Like if if if it passes the test of everybody in the group, if we're all excited and yes, it kind of makes it bulletproof in a way, yeah, you know, and then we could all be you know, confident with it when we have to go promoted and talk about it, and then if people don't like it, at least we know that we love it absolutely absolutely, it'd be a fun thing to think about if and when you decide to do more. How could you set it up? Wait, doesn't feel like you're just doing another one, you know what? It really feels like this is some crazy like you set up the situation to be a crazy situation that you're excited about. Could be like doing it and you know in a country where maybe nobody speaks English or like you know some some introducing some foreign element just make it feel new again. Yeah, yeah, it could be interesting. No, that'd be great. It feels like the headspace really plays into both if it's fun and how good it is. Yeah, this was hard to make because we wanted it to feel focus and not just like cool vibe songs like we normally do. Like it's like say whatever you want and we'll move on. Yeah, really like taking time to just get the words right, get the messaging right, and like understand what we were trying to say before even saying it, before writing the song. So I think that was like we had to like step it up as writers, you know, and really like push each other to say new things. You know. Yeah, because I feel like with a lot of the brockhanda songs. At this point, I've kind of said like the same things in so many different ways. It's like calculide, make it feel new, Like you're saying, thinking another thing you can try next time. That would be different, really different, especially because this one took the longest. Would be to impose a really tight schedule, like saying, you know, we're going to be somewhere altogether for I don't know a month, and in that month we gotta start to finish. It's got to happen in a month, and everybody come prepared, like you know, like come with any any any starting points, but don't share them, you know, until we get like it all starts the day we walk in and that's cool. Yeah, it's like again, it will make it fun because it's not just this end this process and could be sort of an antidote to the last one of just like this is the it's on and it's and then it's over. So enjoy it, you know, enjoy this little window because it's that's cool. It could be fun. That's an exciting idea. Yeah, it's like again, it's like that any opportunities to find a way to set up the situation to where it's a new challenge. You know, it's a new makes it fun. I like that. We're going to take a quick break and then we'll be back with more from Kevin Abstract. We're back with the rest of Rick Rubin's conversation with Kevin Abstract. Here's their new song, Don't Shoot Up the Party. All remember Ken's selftra runs deep, White boys all I see whenever I sleep, niggas think. I think these thoughts on purpose. But I knew about Hand's sake folk cast of room me Calini's minds by masters and slaves. They both hate niggas and like nikkas the same homophone. I tried the gang bang. I tried to get laid. I had to get paid, hopped off the ship. I landed on my feet in corpusmen. See, I got my own street running this shit like as that tracked me. I had to go back home. I see too many niggas out. I get my dogs black well, let them live well whenever Evercore we drink the money story to tell you went out soon. Then to the new plastic, new machine. Keep the peace, keep him dancing. Don't shoot up the party. Don't shoot up the party, please, please, don't shoot up the party. Don't shoot up the party. Please, don't get up the party. Don't shoot up my party. Please please, please, please, please please. It's a damn for you wins and wove for the people in the back standing on the tippy toes. Don't give it. Damn with the journalese. Root always didn't sad like the in the catacombs, on the crowd, like a line in the storm, watching for the prey that might split his stroke. It's about to time that I let your ass go. Y'all deserved getting a team even more. Kiss my eyes, shoot my boss like it's mental cooke fu class, get cashed by the truck loads. Ladies down with my dogs with the city cloone went for a hell of a ride. This is a good time. No, I'm damn rode every single by the little bit. Why fucking by now met it all? Now thendicate this to my family in Chicago. Stay down, I'm sorry, Stay down early. People need more of the morney. It's white people don't love me. Oh, stay down, I'm sorry, Stay down. Oh I don't need you to love me. Fun you go for me. Don't shoot out the body, don't shoot out the party, PA, Please don't shoot out the body. Don't shoot down the party. Pass Please, don't shoot out the party. Don't shoot up my party, please? Please? What's the issue? Why you gotta grab that bistol? Think about huco miss? You never know what I've been through? What's the issue? Why you gotta grab that bistol? Think about huco miss? You never know what they might do. Don't shoot up the party, don't shoot up the That's gonna be incredible live. Yeah, I can't wait. That's gonna be fun, crazy party track. How that one happened? Just jamming? Yeah, everyone's jamming and I grabbed the micro's freestyling like just trying new things. Yeah, And it went on for like like forty five minutes to an hour, so cool. And then we just started editing it kind of like, oh, this part could be the hook don't don't shoot the party part. I think we spent the rest of the night, like everyone just writing their verses. I was afraid of it at first. I felt like it was like kind of cheesy, and I was like, oh, it's not hard enough. I love it so much now though, it's so good. It's so good in that It's like what it's talking about is clearly serious and hard, and the music is just this party. Yeah, and that that juxtaposition is so cool. I think it wasn't fully there. Yeah at first when I when I was hating on it sonically, it just wasn't fully realized. And I think once we kept pushing it towards the party thing, like you're saying, then it started to like make all of us love it way more. Yeah, It's it's just cool. The contrast between what it's talking about and the feeling of the music. It's really cool. Yeah. I love that. Ye, Lord, you come down and help my brother? Oh so please, Lord, he needs you are Oh oh't you let him now that he's sad? So when you love shine ster like the line let him know you on into fine, I go down so godless you with your life that time shine to the light. Oho, holding in your life, holding in your life, shooting so shine to light, you know, shoes w so fine? We bye? She I love that. How did it happened? I was looking for like interludes and stuff like that for the album and ask and I was like, could you go and make like a bunch of interludes and he said he had this poem that he wrote after he found out the news about Russell's dad, and he just took the poem and turned it into a song with him and his friends Ryan and Nick, they like all put it together and he played it force like wow, this is perfect, really beautiful and feels like it adds a whole other dimension to the album. That's really good. Thanks. Yeah, I think it helps keep pushing the message, you know, from when you first hear that the phone call at the beginning of the album, Like just keep kind of going back to that and then having these moments around it that like help highlight the band and Russell and all that stuff. So good. Also the first devotional rock Campton. So yeah, yeah, are there any touring plants coming up? I think we're going to Europe hopefully beginning of next year. Hopefully we get in the studio this summer and make the other album. Yeah, let's think about your idea, Yeah, just to switch it up and we'll bring a different energy, like a different focused energy when you know it's like this is not yeah, it's a good could be a good, healthy experiment. You think a month is enough time? Would you say? I don't know. It depends on you. Like I know, the Beatles made their first five albums all five within one month, so so it's doable. It's like, just depends how different your your rhythm is. It would be good to come up with something both realistic and really challenging when deciding on whatever that number is. You know, like it has to feel like you're in a hurry from the first day. Yeah, because that it'll just make it different, that'll change the whole experience. That's cool. I love that. I love that. Yeah, that's gonna tell me about it. It's definitely my favorite album we've made. I found myself like actually listening to it and enjoying it so super proud in this conversation makes me want to do the next one. Oh great, Yeah, that's really positive. No, it's super amazing for real. Thanks to Kevin Abstract for talking through the making of Brockhampton's latest album with Rick to Hear, Roadrunner, New Light, New Machine, and our favorite Brockhampton tracks. Head to Broken Record podcast dot com. Be sure to subscribe to our YouTube channel at YouTube dot com slash Broken Record Podcast, where you can find all of our new episodes and you can follow us on Twitter at broken Record. Broken Record is produced with helpful Leah Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafee. Our executive producer is Amia Lavelle. Broken Record is a production of Pushkin Industries, and if you like this show and others from Pushkin Industries, consider becoming a Pushnick. 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