F.Y.I - BOUNZE HOUSE
How did you come up with the Cover Art for the project? Was this influenced by Phil Mao who did the design? Anything that drew you towards the Circus theme?
I came up with the concept and idea of how I'd like the design to go. Then I explained the concept and idea to Phil. He took the pieces of ideas and put it together like a puzzle. Sometimes we get it right the first time, the vibe and overall aesthetic. Sometimes it takes several drafts before I see the cover that visually represents the music and season of branding I'm in. This particular cover went through several drafts before we got it right. But once I saw it, I knew is was fire. The circus theme was drawn from the title of the album and I wanted to tap into that early 1900s circus flyer imagery because its iconic and really encapsulates the start of what we know now as entertainment in today's context. That cover like the music gives you a feel of theater and showmanship and drama and action all in one. The cover really hits on all those themes.
What made you decide on the title "Bounze Houze" ? Does this have anything to do with bouncing out of the house after disagreements?
The title is a description of the sonics of the album. Every song on the record is up-tempo body moving music. It has a bounce. I've told myself over the last several projects that I wanted to make an entire record that was faster with more groove to it. So the title is an ode to that concept. The album topics mainly focus on man-woman relationships and have more elements of storytelling on most songs but from a fun and light perspective. I like to take risk and be outside what some may categorize me as which is a barvelous emcee that just wants to throw spears every song. Of course I enjoy that but I like to also show my range and create music for all types of people to enjoy. So I anticipate when lady huemans hear the records they'll be more attentive than usual and the bars and cadences are still there for the fellas to appreciate as well. This album is a departure from the more heavier subjects that I tackle on most of my projects.
Is there a Glowiesha in real life? Any particular deeper connection to Glowiesha's character? How would you describe Gloweisha in a few words?
Glowiesha is inspired by various real-life relationships that I have had mixed with some ideal qualities that attract me to certain women. Glowiesha's strong, she's independent, she's resourceful, she's voluptuous, she's stylish, she's ethereal. When I wrote the script for the short film these were the qualities that I envisioned for the character. Also the song, Glowiesha, from the album inspired the type of woman she needed to be for the film role. She also can be consider a muse for this project and representation of the what the overall art is on Bounze Houze.
How did you put the short film come together? What did you enjoy most about that experience?
I wrote the original script and my lady gave me some good insight into how it should flow especially the ending. Then I sent the original script to my homie and the director of the film, Marlon "Hightop Bully" Womack. Marlon read the original, but basically told me that we needed to it make it more concise visually. So he created a second script and I reviewed the overall outline and added elements here and there. That process was about a month then we shot everything in about a day or so. As an indie artist, everything falls on you to produce projects. So Marlon and I produced the film from beginning to end. That meant we casted roles for the film, found locations, found a talented make up artist, Marcela Osegueda, and coordinated call times for all the actors. All that fell into our laps. I told Marlon we had a choice to either approach the process blahzay or shoot for something iconic. Something memorable. After seeing the finished product, I was satisfied with the overall execution and vision of it. It was definitely a learning experience because there's five times more coordination on this type of project versus creating a music video. Outside of creating a film which is rewarding in itself, I would also say its a new feeling to see a script come to life versus writing a song and performing it. Both are dope but just different types of feelings.
What was the most difficult track to make on the project? Why? Which song do you like the best? Why?
Groove Back was more challenging to make because I knew from the beginning I needed that Carribean-Dancehall-Afrobeat melody on the beat. Thankfully, I got Turtleman to rock on the song and he brought that world to the record. That brought an authenticity that could not be duplicated any other way. Prior to solidifying Turtleman for the feature, I was chopping it with several folks within that space, but praise the Lord; God lead me to the right person. Sometimes you have to be patient to try things out that you envision on a song. I think it's big mistake when an artist moves on from an idea for a record before they execute it because they're impatient with the process. Patience is key; we got to let God work. I like all the songs equally on the project and it changes from day to day depending on my mood. If I'm in the mood to hear raw hip-hop then Real Neegha Callz or if I'm trying to zone on a more eclectic tip than Glowiesha would be my go to track.
What was the recording & collaboration process like for you on this project? Was it mostly in-house collaboration or sending emails for vocals? How did your collaborations come together for the project? Did you have to find singers? or were they all close friends? Did you record in the same sessions?
Sessions were dope. My engineer, Charles Glenn and I locked in. Peanuts. Chips. Bakers. LAkers. NBAtv or King of Queens. Every feature on the album from Turtleman to Nosaj Mc to Taye were all in the studio with me recording verses, smoking, talking, kicking it. Also the homie from Baltimore, DJ Harvey Dent, sent in some dope scratches for Real Neegha Callz and the keyboardist extraordinaire Rodney "Spanky' Thomas from Ozone put the finishing touches on some songs. The additional instrumentation brought life to the record in a whole new way musically with the chord progressions especially. Overall, a lot of people I collaborated with I've known for some time. They are all talented in their own right and when you collaborate with others you're looking for their very best to make the record fire.period. After hearing the finished product, I think we accomplished that goal.
As for the beats, have you had the opportunity to link and have sessions/record with Dual OutPut? How did you find him?
I've worked with Dual Output since 2007. I got one of his beat tapes from my manager at the time which was my pops. After listening to the beat tape, I tracked him down and we been rocking ever since. My 2015 project, Age/Sex/Location, he produced every track on that project except the bonus record which was made by Sir Jon Lee. Me and Dual have chopped it up over the years and hung out several times, but we actually haven't been able to work in the studio together at the same time because we typically are in different states when I'm in project mode. But he's a good brother and has great track record making classics with 50 Cent and working new talent like Joyner Lucas as well. So I'm always in good hands when we work on music.
How did you write the bars for this track? What about the specifics- in the car w/ flows? at your home pen to paper? Text on your phone? How do you like to write your bars/Flows/ Choruses?
The creative process for me is a lot of things. But the main thing is living life and being inspired by it. Everything around me provides me an opportunity to make records. Conversations. Scenarios. As long as I'm observant and watching the world around me then there's something creatively I can draw from.
How did the vision for this entire project Start? From Beginning to End?
I've told myself for the last several projects that I wanted to make a short film along with the album. Probably since 2014 when my first project, Yo! The Places You'll Go came out, but it was not the right time to execute it until this project came along. So prior to recording the album, I knew I wanted to create a short film that was inspired by the music. Also I envisioned this project having various content for huemans such as merchandise, behind the scenes footage, and music videos for every song on the project.
What is something you like most about creating?
Taking an idea and then seeing it manifest into an experience that others can enjoy, party to, be inspired by, reflect on.
What do you think people like most about your music?
It's soulful. You feel it in your soul. You can listen. You can hear what I'm saying, but ultimately you feel what I'm saying. Once that connection is made. Its powerful.
How would you compare this project to your other projects you've done? What have you learned from this experience?
This project is different because there's visual content for every song on the project and a short film for the project. That's something I never done before. I know that God answers prayer and I saw Him manifest my prayers. Also I learned that quality work takes time and you can not rush the process in creating quality work.
Where do you come up with your best ideas?
Some ideas wake me up and have me writing things down at 3 am. There's no one place; every place and situation can become an opportunity to be inspired to come up with an idea.
Who has helped or motivated you the most during the creation of this project?
Yahweh. First and foremost, without Him I can do nothing. So my faith and belief that God will work things in out in due time is what motivated and helped me complete this process ultimately. Also, the other artists that contributed to the project and my immediate family that show me love and support helped me get to the finish line with this project and short film.
When did you decide to create the film? before or after the project was done?
The film was created after the project was recorded. The music inspired the script for the film and the direction of it.
anything else you'd like to cover/go over?
Yes, the short film is called "Glowiesha" and its only available to fans who either pre-order the album or buy the album or bought any item of merch from www.thehuemanshop.ecwid.com or www.fyipsalms.com . This short film is a thank you to the fans and supporters of my music. My plan is not to release the short film on any platform at this time. So if you're reading this article and you're proud to pay for something then thank you in advance, much appreciated. Also, much love to the Rare Flavr Family for the continued support of F.Y.I. as well. Peace.
via F.y.i BANDCAMP:
Bounze Houze is a hip-hop/rap album by F.Y.I. of Mid-City Los Angeles, California. The album gave F.Y.I. inspiration to star in a short film based on the subject matter of the EP. The short film is called "Glowiesha" and also happens to be the title on the first track off Bounze Houze.
F.Y.I. is offering an exclusive link to the short film upon purchase of the album in addition to extra behind the scenes bonus content. Both the short film and the extra footage is not available on any other platform on social media. He also set up a merch store inspired by the music in which any purchase also allows access to the exclusive short film link. F.Y.I. says, "I wanted to thank those who support the music and artistry by going beyond just providing new music but also giving them an overall experience visually too".
Beats from this album come courtesy of long collaborator, Dual Output, who has also produced for hip hop elite like 50 Cent and rap's new school like Joyner Lucas. Once again F.Y.I. find a new creative way to engage his fans who he endearingly calls "huemans" with the most exclusive extra content that he has created to date while continuing to make timeless music.
Merch Store is available at bit.ly/thehuemanshop
credits
releases January 24, 2020
"Baaad Boy Baaad Girl", "Gloweisha", "Real Neegha Callz", "Break Up Dance" written by F.Y.I.
"hEYE Vibrationz" written by F.Y.I. and Kidada Renee
"Groove Back" written by F.Y.I. and Turtleman
All beats by Ryan "Dual Output" Frazier
Additional song instrumentation from Rodney "Spanky" Thomas of OZONE
Additional vocals on "Groove Back" by Turtleman
Additional vocals on "hEYE Vibrationz" by Kidada Renee
Additional vocals on "Bad Boy Bad Girl" by Taye
Additional vocals on "Real Neegha Callz" by Nosaj Mc
Additional scratches on "Real Neegha Callz" by DJ Harvey Dent
Additional recording on "Groove Back" by Big Mil
All songs recorded, engineered, and mixed by Charles "Bass King" Glenn
All songs recorded at King C's Studio (Rancho Cucamonga, CA)
Album Design by Phil Mao
Executive Produced by Yahweh Jireh
Co-Executive Produced By F.Y.I. & Maria Marshall
www.fyipsalms.com or fyipsalms.bandcamp.com
license
all rights reserved
@FYIpsalms on Twitter