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But I’ve wanted to create a new sound where it has ground in the classic stuff I love, but it’s not the same thing, you know what I mean? It really brought the writing out of me where like, it’s hard to put your finger on, but it’s different. I think a lot of the stuff here is stuff I’ve always wanted to rap on, well not exactly, because there hasn’t always been stuff like this. That’s a good point, I see that on both ends because it really enhanced my writing. How do you think both your and Navy Blue’s work elevated throughout Half God’s creation? Historically, when you look at rapper-producer projects, like DOOM and Madlib on Madvillainy, Madlib and Dilla on Microphone Champion, and even recently Armand Hammer and The Alchemist on Haram, they tend to elevate both artists involved. To me, Telephone Booth was like a piece, where this is a fully realised project. I worked closely with Navy Blue to facilitate a cohesive album. It was like I was getting my feet wet with creating songs again, and feeling competent as an emcee again. Telephone Booth was going more with the feeling in terms of writing, and it wasn’t over conceptualised. What did you take from that process that you applied to this body of work? This project follows up Telephone Booth with NAH from earlier this year, where you approached the music in a more stream-of-consciousness form. I don’t know if that’s power, but I think I’m able to read and analyse shit well. For me, I feel like I’m just a man of history, a poet. It’s not like they’re perfect, they could do some out-of-pocket shit. Even with Greek Mythology, I like how there are human qualities to the gods. I feel like it represents reality, where we’re all people, but possess our powers in the form of our identities and abilities. It’s like in mythology, where you have demigods that are human, but each has their powers. It’s like trying to find purpose in life, where you want to have some meaning, but you don’t want to be over-delusional. It’s a real human thing because we feel special as a person right? Like we have all these feelings and things that are meaningful to us, but at the same time, we’re human, and are aware that we’re one of the however many people in the world you know? I think everyone deals with that. So it’s that duality, and playing around with that concept. But then, it’s also about being able to humble yourself and realise that you’re just human as well. There’s a certain confidence in hip-hop, and a certain god-level you want to reach you want to look at yourself in that light. It’s one of the first times where I’ve felt like I’m still excited about the music, because everything rolled out how I envisioned it, and it’s not too old. I feel really good about it, I’m excited. He talked me through the process of creating this album and the convergence of art and hip-hop, as well as his favourite rap voice ever.Ĭongratulations on the album, man. To learn more about Half God, I hopped on a Zoom call with Wiki, who resided in the greenery of the park, while rolling the green of his spliff. He achieves all of this with the Wiki Warrior Dimes on his feet, which comes from a collaboration with brand Warrior Shanghai, and showcases the reach of the always growing Wikset Enterprises. Lyrically, Wiki is at his best, trudging through the atmosphere with stank-face-inducing rhyme schemes and vulnerable soliloquies that teach us more about the man behind the moniker. His introspection is backed by production from Brooklyn’s Navy Blue, who polymerises the sounds of soul, jazz, and boom-bap in ways that result in lush passages of lo-fi experimentation, and a barrage of classic hip-hop bouncing off stoops. It’s a project that finds the rapper on his grown man shit, reflecting on his journey and observing the city around him as if he were the DJ from The Warriors. It’s no surprise that Wiki’s roof became the catalyst of a standout song on his third solo album Half God. But the walls of every building still acted as a time capsule, telling stories of a rapper from Manhattan, who had gone from an adolescent emcee smashing mics against his head as 1/3 of Ratking to a young veteran aiming for that god-level of artistry. The streets were scarcer in population during these times, with ABC7 reporting that approximately 320,000 people left New York in 2020. It became a place of peace and inspiration, from taking naps to staring at the skyscrapers that surround him. The pandemic found Wiki on the roof of his abode every day.
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