In Nashville everyone does something. Everyone has a side hustle or hobby. You kinda have to here because it’s boring as shit if you don’t. So it’s always cool to meet new people and ask them what they do. So when I met iNTRO at a kickball game thrown by Coogi I was pleased to find out that he makes amazing music. Honestly, you can’t get any smoother than iNTRO man. When you talk to him he’s so chill and cool and it seeps into his music. His flow is calm, but not enough that he doesn’t have your full attention. This is apparent on songs like BBW/Let’s Dance, Mo Money, No Wok too. Shit is perfect. So what better time to ask him questions than now? He just released his album The Lost Tapes and I just had to talk to him about it. It’s just that good.
Deshaun: How did you start this album? Like, what sparked it?
iNTRO: Track 6. Intro’s Groove (aka IDWT) that’s the first song I recorded for the album, and it may sound funny but that’s the first song I did where I felt like it was 100% undoubtedly me. And anyone that actually knows me in real life would tell you the same thing. So after I recorded it, I sat with myself and decided I wanted to fully go into myself with a project where I did it that on every single song.
D: What was different in that song from your others? You’re super open on there.
I: Well I’m sure most people can relate that the songs they like the most are ones that they can relate too. And prior to making that song I felt like I didn’t have any songs where people could really relate to ME rather than just cool shit I might say.
D: It definitely shows. It’s all across the album too. I’m just now noticing now that you pointed it out because on Cars & Clothes you’re super optimistic and motivated.
I: Man I can literally remember the headspace I was in writing that. It was the week after this 3 day event called #thelinkinn. Where some of Nashville’s most talented artist all got invited to this huge recording session, and man just being around so many like-minded and again, extremely talented individuals just put this battery in my back that really fueled the whole project.
D: Was Mo Money created in this time frame? You are fucking spitting on there, and there’s a noticeable tempo change too.
I: I actually made Mo Money a while before Cars & Clothes and I was in a completely different headspace. On that one I was “hungry.” When I was writing it I felt like I was literally writing out my future. I’m definitely going to be anxious to go back to that song a few years from now.
D: I mean you basically laid out the blueprint.
I: Shoutout Chef Cam on the instrumental too.
D: Did you handle any of the production?
I: I did Through Space & Time all myself. I actually got my uncle to do the keys on Take It. I plan on taking time out of this year and dedicate it learning guitar and bass. Its a big goal of mine to do a live album more sooner than later in my career.
D: Ooooooooo iNTRO I’d love to hear that oh my god. Through Space & Time was such a fire way to open up the album. What made you want to do that? Setting the mood?
I: Exactly that. Most people had just heard Before The Lost Tapes from me and that overall was a pretty loud project. I just didn’t want them to be expecting more of that when they started playing this.
D: Ah! Okay, is that why Lazy Raps was the one from there to make it onto The Lost Tapes? Since it’s more laid back?
I: That’s half of the reason for sure. I’m a huge lover for cohesion. Not even just in music. I just love when stuff looks or sounds like it’s supposed to go together or “makes sense”. The other half though is just because I didn’t want people to get bored with the rappity-raps. Lazy Raps is fun and catchy because it’s literally, lazy raps, but at the same time it’s still honest.
D: So why include the interludes? Just to take a breather?
I: I did those to give it that full album “feel.” I always can remember hearing the skits on older albums and just thinking how it really makes you think of the album in its entirety like a movie or a story. So to keep the ongoing theme of opening up myself a little to the consumer I put those tracks in. Also, before I put them on it, the album was way too short. Although they only add 2 minutes and 25 seconds more to the project, they were definitely necessary.
D: That’s understandable for sure. I definitely can’t skip them. I feel like it takes away from the experience of the entire project. The Day I Met You sounds so different from the rest of the album. It’s a mix of all these different sounds and grooves, but it doesn’t get jumbled up. Why’d you decide to end the album like that?
I: Man that song is so special to me. When I first started putting out music I always caught myself trying to make songs that my peers would like rather than the stuff I actually like. And when I’m by myself, you’ll rarely catch me listening to rap. If it’s not some mood music or old pop punk, it’s music that sounds like The Day I Met You. Stuff I can FEEL and stuff that brings color to the room. I also have to nod to Jaden Smith, he is a huge influence of mine and I pulled a lot from him when constructing that record.
D: Pop punk?? Like who? This is wild to me.
I: Lol man anyone that used to be at Warped Tour. Pierce the Veil, Dance Gavin Dance, Emarosa, Of Mice & Men, Chiodos, Isles & Glaciers, Sleeping with Sirens, I could keep going. That stuff is so nostalgic for me. And it also really means a lot to me because growing up I kind of kept that side of me hidden because I cared so much of what other people would think. I love people’s reaction when I tell them that.
D: I bet because i definitely was not expecting that. it’s because you’re so chill all the time so if i saw you singing some pierce the veil i’d be like “What the fuck is going on right now?
I: That’s the beautiful thing about music though, it doesn’t care who you are or what you look like, if some shit hits you then it hits you no doubt about it. There’s so many people out there missing out really good stuff just because of insecurity. And that goes for a lot of stuff in life. Not just music.
D: Abso-fucking-lutely oh my god. I hate when people try to act like a song doesn’t slap just because it’s not what they listen to. So how does it feel that people are doing that with your music? Like “i’d think you’d fuck with this.”
I: It’s pretty surreal to say the least. I always say, “I want my music to do for people, what other people’s music does for me.” And it’s not a stretch when I say I wouldn’t be here today if it wasn’t for music. Its therapeutic, it’s exciting, it’s euphoric. And again, if my music can makes other people feel those same things then I feel like my purpose is already fulfilled.
D: Damn, well with that being said, what’s next?
I: Taking what I have right now, and just taking it as far as I can bro. I also want really to start challenging myself. Seeing what boundaries I can push and how far I can push them. Like I said on the album, every significant moment in life is like a chapter. So I’m about to start writing this one.
D: I’m super excited to see what’s next man. this album was so fire in whatever aspect I listened to it in. Didn’t matter if i was listening intuitively or just nodding my head along. You put your foot into man. Thank you for doing this by the way.
I: It’s my pleasure man. Thank you for the opportunity and the platform bro.
Listen to The Lost Tapes
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