Her sixth studio album—which she plans to drop at the top of —promises a bit of clarity on her evolution. She stopped by on a rainy afternoon to explain how different her new LP will sound from the rest of her discography, exploring pop music, how unfazed she is by the French Montana situation and the need for solidarity between female rappers.
Talk a little about it. I usually like to be involved, but this particular time, I just wanted to see where [the director] would go with it. And you probably never saw it coming. You see me shoveling, you see me digging, you see me real aggressive. Sweet and simple, just like sweet revenge. Have you ever had like a sweet revenge moment? Um yeah, I did before, a long time ago. I took everything, packed up everything and just left.
Never left a note, a call, a text that I was leaving or nothing. I just was gone. I just totally went numb. So it was bittersweet. You get that last laugh. It helps a little bit. It makes you feel good.
I was introduced to him by some producers in Miami. He came to the studio and he came in ready, like ready to record an album. He came with mad beats, production, hooks and just different sounds. He made the beat, took it out, added instruments and did the whole thing.
I actually chose maybe four or five records of his and then the single, that was the last record that we did. We went all the way back maybe like two-three weeks after and went back to that record. I just like his worth ethic.
Like a new artist and they come into the studio like a breath of fresh air. We just went back and forth. We never knew who he was on the record and it was really interesting. It was a full circle moment. Yeah, it was instant. He went straight to business, no hesitation. Before you knew it, in one night we had like three records. We went back in two days later, we cut two more tracks, I did a record for him. We did a record that was more for the streets, a record that was melodic.
He did a record for me that was an intimate kind of record because it was about my little brother who had just passed. He wanted to create that type of record for me because we talked about it and felt like he saw that pain and wanted to bring that out.
You mentioned a mix of some club songs, some showing intimate moments. How did you determine the diversity and ratio of songs on the new album? I want to leave that for the streets and the clubs on the mixtape. I think this album, I just want it to be classic exclusive records that have meaning and shows growth and matureness.
The sound and how I want my voice to sound and what I want to say. We can put this out right now, this is a dope record.
I want it for the streets. But this is classic. This is for the album. I want it to be more unpredictable. This record went into that same volume for me. You can hear it, you can feel it. Who else did you work with besides Tory? I worked with this guy Young Yonny. I have Cashous Clay, just to name a few. I just wanted to give others a good chance with great music and bring out something different.
I say different and they get scared. You want to do pop? Would you be opposed to pop? Not so much pop. I like the sound of it. But I definitely love the change in the sound. I was still able to write and make it balanced and tell a story. I like the ones where I can still stay in my element but it shows the different side of me. And not alienate your core fans while still attracting new ones. Do you think social media sometimes shifts the focus farther from the music, though?
But I do understand the platform of it. People will say, when are you coming back out with a new record? I have five new records out. So I definitely see the platform that it gives you to make sure people stay in the loop and it keeps you aware and consistent.
It starts getting all over the place.