An Interview with Pink Siifu

Max Bell chats with Pink Siifu about growing up in Cincinnati, dropping out of college, and his prolific output.
By    August 6, 2018

Photo by kara.

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Generally, artists respond to their first interviews in one of two ways. Some are initially uncomfortable discussing the intimate details of their lives and art with a virtual stranger. Their answers are guarded, terse. Others, however, have a seemingly innate candor. A simple, “What are you up to today?,” inspires minutes of personal and insightful revelation. In hindsight, it makes sense that Livingston Matthews falls into the latter camp.

Better known as Pink Siifu, the 26-year-old, LA-based rapper/singer/producer ranks as one of the markedly prolific artists in our “more content, please” era. The breadth of his output, however, is not a marketing tactic or an attempt to game streaming services. Rather, his obsessive recording helps him realize all of the sounds he hears in his head. Rap, neo-soul, punk—there is no genre Matthews will not explore.

Last week, I discussed Matthews catalog at length in my Bandcamp guide to his music. For those of you averse to clicking hyperlinks and writers paraphrasing themselves, I’ve quoted part of what I wrote about his music:

“Since 2014, Matthews has used several monikers to drive his creative inspirations—the names “Pink Siifu” and “iiye” being the most prominent. Given the diversity of each project, genre tags are as subjective as they are reductive. Also, due to the low fidelity of many of his recordings, Matthews’s music requires headphones, a quiet place, and complete immersion. As iiye, he chops dusty loops from countless genres with an SP-404, splicing in film clips like some indecipherable code. As Siifu, he raps, sings, and finds new ways to make them intersect. When rapping, his cadence and voice sit somewhere between the deep growls of vocalists zeroh and Gonjasufi: he spits intricate, streams of consciousness that stretch syllables to their extremity. When singing, he moves from a husky grumbling to a throaty, amorous mid-range similar to that of Anderson .Paak.”

The interview that follows was originally conducted for the above-mentioned Bandcamp guide. For longtime fans of Matthews, this is the most comprehensive interview you’re apt to find. He discussed everything from his childhood spent shuttling between Birmingham, Alabama and Cincinnati, Ohio to his formative musical influences, his recording process, and his struggle to make it in L.A. Whether you’re a longtime fan, new to his music entirely, and/or an aspiring musician, his journey and positivity in the face of adversity are, for lack of a better word, inspiring. —Max Bell

Do you travel to New York often?

Pink Siifu: I’m staying out here until the end of September. I’ve come out here every summer since 2016 and a little bit in the spring. New York just feels very good. It’s peaceful. When I’m here, I have a different creative energy. There’s a lot of black and brown people here, so there’s cultural inspiration, too. It’s a different energy than L.A. It’s closer to Birmingham, where I was born. Even though it’s a city, there’s a lot of rooted cultural inspiration that I grab from.

How old were you when you moved from Birmingham to Cincinnati?

Pink Siifu: I was like five or six.

So you spent all of your teen years in Ohio?

Pink Siifu: Definitely raised in Cincinnati. But I say back and forth because every school break I would go back to Birmingham. I have no family in Cincinnati other than my immediate family. I have like one cousin and a couple cousins in Chicago, but all of my family is from the south. My mom and dad are from Birmingham. My grandma is from Mississippi. Everyone is either from Birmingham or Florida or Atlanta. It’s a real southern family.

So I would go to Birmingham up until middle school. That’s when I started going to parties and shit and wanted to be in Cincinnati for the summer because I had friends. But then I would go back to Birmingham every other break. I say back and forth because I learned a lot from Birmingham. We didn’t have family reunions. We really only had funerals. Our funerals were our family reunions. We had so many family members dying off from diseases and violence. I would come to Birmingham to learn about death and the reality of being black and the reality of sickness.

At a young age, my cousin, who was like my brother, got hit by a car. I was with his mom the whole funeral—I wanted to—but I had to see her over that casket. I was like in fifth or fourth grade. It was just crazy. I learned the real shit in Birmingham. And in Cincinnati, growing up there, there were friends that were getting locked up, people dying and committing suicide. Both [places raised me].

What was your neighborhood like in Cincinnati? Where were you living?

Pink Siifu: My neighborhood in Cincinnati was uptown. It’s not too far from the suburbs, but it’s not too far from the projects. It’s in-between. It’s a middle class area. It was peaceful, but it was still wild. It was a better neighborhood to grow up in than Birmingham, though. The neighborhood my grandma lives in and my pops and my moms is from in Birmingham, that shit is fucked up.

But it was definitely still crazy in Cincinnati. And when you think back to shit that happened in Cincinnati, it’s kind of racist. The first time I got put in the back of cop car was because I jaywalked. It was just after school. I was with mad kids. They just pulled over and put me in the car. I jaywalked on some crazy shit because I used to be a class clown, but the way they put me in the back of the cop car was crazy. I was like, “I just jaywalked. Y’all can’t just talk to me?” I was a freshman. It was just that. It was a good neighborhood, but it definitely can improve.

From what I’ve seen of Ohio, the racism is still fairly palpable in certain places.

Pink Siifu: It’s crazy. When I was in the band, we would go with the football team to every game. We went to this one school—I can’t remember the name—and the football players and the band was calling us “nigger” and just being racist. The coaches from our team had to be like, “Get your players. These are our kids.” We had to leave. We didn’t play them. The next year we did play them, but there was still shit going on. We went to mostly a black school. So just going to these suburban schools and seeing this, it brought perspective to where I really was. But there are parts of Alabama that are pretty racist, too.

Did you play in the band in grade school as well?

Pink Siifu: We could join the band in fifth grade, so I was in the band from fifth grade until I graduated high school. I played trumpet in fifth and sixth grade, but then I saw Drumline and that shit fucked me up. Also, my pops was in the marching band and he was a jazz musician and he played saxophone. He would take us to this thing in Birmingham called The Classic. It’s this thing where both Alabama colleges play each other. Down south, the game time is halftime. Niggas that don’t even like football come to see the marching bands play. Seeing that and then watching Drumline, I was like, “I’m about to play the drums.” Looking back, I should’ve tried to play both. I should’ve kept with the trumpet, because it sounds beautiful.

Which drum did you play?

Pink Siifu: I played snare my senior year, but I was more of a bass drum player. I just liked how it felt. I could freestyle a lot on that. I made a lot of cadences. During basketball, they would let the basketball make up shit. We would play hip-hop songs and beats. I was focusing heavy on that.

Were you rapping at this point?

Pink Siifu: I never wanted to rap. I was more so a dancing ass nigga. I would battle people at parties. I wasn’t a b-boy, but pop locking and krumping and dances I grew up on—I was doing that. I didn’t think I would go very far in that, but I was known in that. I was known as the nigga that was in band and made shit up on the drums.

The rapping shit didn’t come until college. I met this girl when I was like 16 or 17, and that was my first serious relationship. She was a poet. She loved 2Pac. She heightened my love for 2Pac. She got me into poetry. That was my introduction into writing raps. I was doing poetry for like two to three years. I was on that. From that, I got into rapping. Niggas wanted me to lay poems over their beats. Niggas wanted me to do poetry as a skit. Then I’d get into the studio and be like, “I fuck with this.”

I was going to do a poetry album, but then I was like, “That sounds corny to me.” I was like, “I’m going to try to rap this shit.” My homie PJ in Cincinnati was my first engineer and kind of my mentor. I was trying to transform my poems into raps and this nigga sat me down for like five hours and he was showing me how to turn my poems into raps. He was like, “Shorten these lines.” It’s all about the wording. He was like, “Take out certain words that don’t take away the feeling of it.” That’s what I’ve been doing ever since. I’ve been trying to get back to it. I’ve written a couple poems while I’m out here [in New York], but most of them are strictly raps.

Your dad was a jazz musician. Was that his profession when you were growing up?

Pink Siifu: My dad went to Florida A&M and that’s an HBCU with a crazy marching band. He played sax in that marching band and was known as that nigga. Then he had my brother. Honestly, if he didn’t have my brother when he had him, he would be doing music. He had him, and he was smart as fuck. He was going to college on a nice ride. He got straight A’s almost his whole life. He said his first time getting a C was in college. It fucked him up.

My grandma used to get sprayed on. She used to get hosed. She grew up in Birmingham and experienced the Civil Rights movement. She was teaching her kids, “You have no time. My friends died for y’all.” People say, “People died for y’all.” But it’s much different when someone says, “My friends died for y’all. I know the people who died. I was marching with them. Y’all can’t be fucking up.” It’s different coming from Birmingham, or just the south. He had my big brother and then he just went hard in electrical engineering.

But his father, my grandfather, he left while my dad was in middle school to go to Nigeria. He played trumpet his whole life. People in Birmingham say he was a big inspiration for the Nigerian jazz movement in the ‘70s and ‘80s. So it’s like that part, too. My grandfather was a jazz musician. That was in my pops, but he chose to make money for his kids. Then he had me, and he hasn’t picked up a sax ever since. It’s sad, too. I be trying to get him back on the sax. Alcoholism has him. It’s a sickness with him. I’m really trying to get him to get his mind, body, and soul right. I’m like, “Pick up that saxophone. That’s the first step. You stopped it for us and we appreciate that shit, but you’re older and you should be enjoying your life.” I want to get him back on that shit.


Pink Siifu: Yeah [laughs]. This is probably going to be the most personal interview I ever do.

What did your mom do for a living?

Pink Siifu: My mom was in banking. Now, she don’t really fuck with banking. She’s on her Zumba shit right now, which is awesome. She’s teaching Zumba. She’s on her fit, workout shit. It’s beautiful. Health has been such a thing in our family, so I’m very happy she’s on that.

What was your major in college?

Pink Siifu: The first year, I chose business. I’m going to come clean, though. I went to college because my parents said, “You’re either going to college or you’re going to the army.” I was like, “What kind of question is that? I’m going to college.” I could have been in marching band. Then I got accepted to Alabama A&M and Wright State University. Those were the only two schools I got accepted to. I was like, “Do I leave Ohio and go to Montgomery and be close to my cousins and family? But I had no person to go to Alabama A&M with.

Then, one of my best friends Elliot was like, “I’m going to Wright State. We should go there together.” I was like, “Yeah. I think I’ll do better in college with a friend.” We went there two semesters and then spring break came and he got into a car accident while driving drunk. He fucked up this woman and her car, and he went to jail for that. He got locked up for almost two years. That was my crutch and backbone in college. After he left, I started thinking about college differently.

My whole life, I wanted to go to school for theater…I was like, “There’s this theatre program in Cincinnati. I really want to go there.” My mom was like, “You already a fucking clown. What are they going to show you?” She was mad because I was getting kicked out of class and shit like that. But in college I was like, “I’m just here wasting your money. If I’m going to be here, I should go for something that I really want to do. When they saw that, they let me do that.”

So I went for theater for a year and a half. I was there by myself. I couldn’t stay, but it was such a blessing to go to those theater classes and go to those dance classes. I learned jazz dance, I learned ballet. I learned meditation and theater aesthetics. That’s the way that most actors and actresses get in tune before they’re about to do a role. They have to get in tune and dive into that shit. I learned about that and about these ancient Asian philosophies. I was learning about the history of shit to learn how to think like a film director. I learned crazy shit.

I was so grateful I did that, but I couldn’t stay because shit got real. My grandma died. I had a little homie in Cincinnati died. And my girlfriend that inspired me to go to Wright State broke up with me. And the next rebound nigga she messed with to get over me got her pregnant. She was up at my campus pregnant and all of this shit was going on. I was like, “I can’t be in school. I’d rather just rap.” One of my other homies Peso felt me. He was like, “Fuck it. If you drop out for rapping, I’m going to drop out for rapping.” We did, and now I’m here.

Do you wish you would’ve gone to Alabama A&M?

Pink Siifu: I don’t know. There were a lot of times where I didn’t go to class. I was just writing raps. I was walking around campus writing. I wrote my first mixtape in college. I wouldn’t have done that at Alabama A&M. I would’ve continued the band geek shit. I would’ve been playing instruments, probably trying to play instruments. I don’t think I would’ve been rapping. I think I would’ve been trying to have a band and be on my musician shit heavy. I feel like that’s why I went to Wright State. I don’t think that I’d be as vocal musically if I went to Wright State. I’d probably be doing film.

When did you decide to move to L.A.?

Pink Siifu: 2013, when I was visiting. I was working on space ghetto in Hollywood. It’s mad weird. Syd tha Kyd and Teairra Marí’s daughter had a studio in Hollywood. I saw it on Twitter. I was a big early Odd Future fan. I love Syd Tha Kyd, Jet Age of Tomorrow, Earl, and Tyler. I was like, “Maybe I can get Syd on some songs. If not, she can engineer my shit. I know she engineered Bastard and all of the early OF shit.” I hit her up. She emailed me back, and we just booked time. It was my first time coming to L.A. I went out there with my ex, and we fucking loved it. I went out there again a few months later to record the rest of the project. I went out there dolo and stayed with a couple people that I’d met the first time. I worked on two projects there. Then I called [my ex] and was like, “We have to move out here.”

Where were you living when you decided to move?

Pink Siifu: I was living in Cincinnati, which is basically where I was raised—there and Birmingham. We were shaking in Cincinnati. I was with a rap group at the time, and we weren’t really seeing eye-to-eye with my visions. It was a rap group I started, so I felt mad disconnected from Cincinnati. Cincinnati is mad violent. There’s mad gun violence. Niggas was dying over marijuana, getting robbed and shit. I had a gun raised to my face before we left and it was because of some baby mama drama that my friend was in, and they were looking for him. We weren’t trying to tell them where he was, and they had drove all the way from Atlanta to find this nigga. It was crazy. I knew one of them that was part of the group of three, and I was looking at him like, “Bro, what is you doing? We’re all black people.” They pulled a gun in broad daylight in an apartment complex. That was my last straw with Cincinnati. Now I’m here.

What did you do when you first arrived in L.A.?

Pink Siifu: It was crazy [when I got out here]. I was homeless for a nice chunk of change. My ex established where we were going to be living, but I fucked up and cheated before I went out. That shit backfired completely on me, and I was homeless for a minute. I had go back to Cinci to save up. Then I went back out there after I had some bread from UPS, and then everything else has been history.

When you finally made it out here, where did you wind up? Where are you living now?

Pink Siifu: I definitely moved around. My last place was in East LA out in El Sereno. I was in a house with two people. It was a cool situation. Niggas was paying like $560 a month. I had my own room. I was mad blessed for that. We lost that spot due to the landlord kicking us out. I guess some shit was going on in his life, so he had to move back in. He gave us a three month notice and we had to dip out.

Before that, I stayed in Compton, Hollywood, K-Town, Inglewood. I used to crash heavy in Long Beach with Lojii. You probably know him from his and Swarvy’s Due Rent. That’s my brother. We slept on floors together. We slept on floors with roaches. He held me down. I actually found my last spot in East LA because he was there and then I took his spot. That’s my brother. I stayed in a few spots in LA. When I go back, I’m trying to stay in Inglewood or the Leimert Park area.

Many people forget that independent artists often work other jobs to support their careers, so I feel it’s important that we have more transparency about that. I think it’s inspiring, rather than something to be ashamed of. If you don’t mind my asking, what are you doing for work right now?

Pink Siifu: Out here in New York I’m doing Postmates. I’m doing it on a bike. But my license is fucked up, so I’m trying to go back to Ohio to get my license right. I’m actually thinking about getting a car so I can do delivery shit and have a better chance. I was working at the movies [in L.A.], but a nigga got fired. I was working at Laemmle Theaters in Pasadena. I kept being late. It was all the way in Pasadena. I had the job for two years. I can’t believe I was even making that trek, because the first year I was staying in Santa Monica. I can’t believe I even kept it that long.

With or without liable transportation, trekking from Santa Monica to Pasadena is impressive.

Pink Siifu: When I get back out there, I’m going to look at some other shit. I feel like I’ll find some shit. I’m not really picky. I just can’t be working all the time. As long as my money is right for a couple months, I feel like I can find some shit. I feel like music is going up. I can pay my rent off of one show now, but I’m not just trying to do shows to pay my rent. That’s kind of dead to me. But if I can score like one show a month, I can pay my rent. And with all of the money that I make off of the Internet, I feel like I can do this and have a part time gig. I’m trying to flex that when I get back to LA.

Who is Ronee Sage? Where does that name come from and what does it mean to you?

Pink Siifu: Ronee Sage is a character that I’ve been building for my album, the album I’m still working on. He’s a character that niggas will really understand when the album comes out. That’s why I just have him as the Bandcamp, Facebook, and Instagram. I want people to really see that name. People I meet actually think that’s my name. I’m like, “Nah.” That’s a character that pertains to some stories in my life, but mostly he’s just a collective of stories that I know and have been introduced to. It’s a character. It has nothing to do with an alias.

You’re going to release an entire Ronee Sage album?

Pink Siifu: He’s going to be the character for my Pink Siifu album.

So it’s Pink Siifu as Ronee Sage like RZA as Bobby Digital.

Pink Siifu: Yeah. If I could think of an album that is on that kind of wave, it’s probably like the characters Tyler, the Creator has in his albums. They’re these made up niggas, but I’m pretty sure that if you talked to him or whatever they’re stories that pertain to people he knows.

Where did Pink Siifu come from? I know that Siifu is Cantonese for a skilful person or a master.

Pink Siifu: I love kung-fu movies. I love Shaw Brothers. I love old Jet Li, Jackie Chan, and Bruce Lee shit. In Shaw Brothers flicks, I would always hear “siifu.” I was like, “What the fuck does that mean?” When I looked it up, I was like, “Oh, that means teacher.” I used to go by Liv Martez. You can find that shit if you want to look for it [laughs]. I don’t really stand by it that much, but it definitely was a time and I was still trying to be honest.

But when I changed my name from that, I was thinking of so many things. I was thinking, ‘Everything is in color. Everything is all color.’ My favorite colors are pink, blue, yellow, and orange. I was like, “I want to teach color and how we feel and look at colors. I want to vibrate that.” That was very inspired by the intro of N.E.R.D.’s Seeing Sounds. He was like, “When I was a kid, I used to see these sounds in color.” I was like, “That makes so much sense.” When I hear shit, I think “This is orange. This is blue.” And I’m trying to teach the importance of color, and skin color. I’m very spiritual, and I believe that when we’re gone we aren’t black, white, light-skinned, etc. But in this reality and this system, skin color is important.

On the flip side, when you hear someone saying, “I’m listening to Pink Siifu,” you don’t know what type of music that nigga makes. I like that because I have so many sides. I have a punk side, a jazz side, a rap side, a neo-soul side. I have so much shit. There are vibes that I haven’t even gone into yet. I want to do dub. I want to do some very pretty acoustic shit.

Where does iiye come from?

Pink Siifu: That’s my producer name. That’s when I’m just trying to do sounds. iiye—I don’t know. I was with my ex, and she got me into making beats. She used to make beats on the iPad. Then I got into doing that. I never thought that I would make beats. I used to look at FruityLoops like, “This is the craziest, most complex shit ever. How do motherfuckers works this shit?” First I started making beats on GarageBand on the iPad, and then Reason, and then Ableton. I just didn’t want to put it out as my shit. I didn’t want people to judge it. I wanted people to get something else entirely from it.

The inspiration comes from Doom, Madlib, and Sun Ra just having different aliases. I was like, “iiye.” When I came up with it, I was taking so much acid. I was like, “It’s all about keeping your eyes open and your third eye protected. It’s all about your eyes. I didn’t want to write it as “eye.” There’s two I’s and then the E. I see that as three I’s. There’s a hole in the E to make the E, and there’s two dots on the I’s. I was like, that’s three I’s.

What are you using to produce today?

Pink Siifu: Ableton and an SP-404. I learned how to make my favorite type of beats on the SP-404. Even when I’m making beats in Ableton, I’m coming from an SP-404 place. That’s why they’re mostly loops.

Do the iiye projects take a long time to compose?

Pink Siifu: They just be flushing out. Some of them I’ve made in two days, and others I’ve made in two hours. That’s why I have so many of them. Like last night, with all of that stuff going on with XXXtentacion and all of this shit on Twitter, I was like, “I need to make some beats.” Beats are mad therapeutic. Writing is therapeutic, but it’s like, “It’s time to convey a message and how you really feel and what you want people to feel.” Now, rapping is getting very serious for me. I can’t be saying bullshit. I don’t have the time do to that. There’s so much bullshit already out and there’s so much shit going on to rap about. But the iiye shit is like, “Flush these feelings out.” It’s so easy for me to bring nostalgia to the beats, more than with the raps. With my next jazz project, I feel like I’m going to bring that balance.

How would you classify them? Beat tape doesn’t seem quite right.

Pink Siifu: That’s why I have photos of my family. They feel more like pictures. They’re like moments.

Do you release everything you make, or do you leave a lot of stuff in the vault?

Pink Siifu: I kind of release every beat I make. But I have some beats on stash that I’m saving for my rap shit or my collab shit. I’m trying to collab with more rappers on some JJ Doom Madvillain type shit. You know Fly Anakin? We’re working on some shit called Fly Siifu. There’s this rapper YUNGMORPHEUS who just moved to L.A. We got some shit we want to do called Yung Siifu. I have shit on stash for that. But most of the beats I have are up on Bandcamp.

And what about your rap stuff?

Pink Siifu: The rap shit is on stash. There’s a lot of shit out, but there’s a lot on stash. Me and MNDSGN have a whole tape that’s not out. We’re still building on what it’s going to sound like. I have a few with him. Then there’s some stuff with people that’s just sitting in emails. I’m cool with that. I don’t want to release everything. But I don’t want to die with a lot of shit, like Prince. I don’t want niggas to be able to tell niggas where my shit is going when I die. I want to control that, or at least leave it with people that can control that shit. The way they’re doing Prince is wild. Respect to his family and all of that, but that shit is kind of weird.

You must make music almost every day, right?

Pink Siifu: I really have to.

How do you juggle all of the genres/styles and projects? How do you make sure one doesn’t bleed over into the next?

Pink Siifu: It’s definitely intention. What do you want people to feel with this? In the space ghetto days, I was on some weird shit. I didn’t care about it bleeding over. Now, it’s just different. I need intent when I’m writing. That’s the thing about Pink Siifu. It’s really all of that. I don’t really care about singing and rapping blending into each other. Some people like my singing and some like my rapping.

Do you spend a lot of time writing lyrics, or do you improvise in the studio?

Pink Siifu: I freestyle most of my singing. It’s premeditated, but it’s mostly improv. Some of my new raps are like that, too. But most of my raps are me writing them down and getting everything I feel onto the track.

Are your listening tastes/habits as diverse as your music?

Pink Siifu: I think so. There’s still some shit I haven’t heard. I love dub and jazz. I love Sun Ra and Andre 3000. They’re my favorite musicians ever. I love a lot of Prince. I love Bad Brains. My ex and her friends put me on to Bad Brains. I was like, “What the fuck? I have to make that shit for us.”

My thing when black people make punk—and no shade on anyone doing this—I don’t get why we have to be on some vampire 666 crazy shit. There’s niggas like me and niggas in the hood that want to rage out to some political shit, but they don’t have music that talks about that. I’m really trying to make punk music for people that are in the projects and are oppressed. Kind of like the soundtrack for Black Panther. That’s really my intent for fuck demo. I played it for this black girl and she was like, “I feel this shit in my heart.”

You’re also heavily into neo-soul, right?

Pink Siifu: Yeah. D’Angelo, Erykah Badu, and Jill Scott changed my life. They make me think about my auntie. That’s all she used to play when she was in the kitchen.

What were you listening to in high school?

Pink Siifu: Outkast, Lil Wayne, and a lot of Pink Floyd. The Wall change my life. The film is so pivotal. That’s how I felt as a kid. Dungeon Family.

When you moved here, how did you begin to make friends/connections in the independent music scene?

Pink Siifu: I just knew niggas off of the Internet. Like how people talk about MySpace days, it was like that with Twitter. People were really receptive to the music, like, “Let’s kick it, let’s build.” A couple homies were like, “You can stay here.” It was mad love. It was God blessed. It was beyond me. I couldn’t have planned how people were showing me love and how people have shown me love in LA. I couldn’t control or plan that. That was ancestors looking out for me. And it’s still happening. Right now, I’m not paying rent where I’m at [in New York]. My friends are letting me stack up here, so I can go back home with some shit.

How did you meet Swarvy, Ahwlee, and people like that?

Pink Siifu: Thank God for MNDSGN. I met Ahwlee at MNDSGN’s birthday party. I met Swarvy after people telling us that we should link together, mostly MNDSGN. I’m so happy about that. MNDSGN is an angel. He’s a connector.

Swarvy works with me on everything. He’s working on a lot of shit. He mixed and mastered BRWN. He’s trying to work on his solo shit. I’m not trying to put no more work on him, really. He has an ill album that I’m a part of on Paxico. But he works on everything I do. He mixes it or has a beat on it. He’s got maybe four or five beats on the album I’m working on.

Me and Ahwlee are about to hit the ground running with these next EPs. After that, we’re trying to focus on the album.

What’s next for you?

Pink Siifu: I’m working on a fuck demo full length. Then there are several B. Cool Aid projects. Then another [email protected].

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