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AB Eastwood

'There’s no place to go in town where you can stay late as possible, smoke if you want, and have options to do other things, and also do some live instrumentation. We’re just trying to curate the creativity here...'

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Evan Dale

Evan Dale // August 17, 2023

It makes sense for a producer to have a wide set of interests. Constantly creating is a challenge all by itself, but creating in an effort to constantly collaborate with a mosaic of other artists is a whole different skillset that requires of a producer breadth, bridge-building, and the creative navigation of thoughts and ideas. For AB Eastwood —who grew up as a multi-instrumentalist and spent a stint learning to produce beats in Miami before returning to his native Nashville — that range of interests is almost as impressive as his ability to tie them together, and link everything back to music. At his studio, called Shangri-La — where dim lighting, comfortable couches, and a barrage of instruments promote comfort and creativity — we sat down with the man whose production has become synonymous with the city’s ever-evolving, always growing rap and soul scene, helping a young class of artists establish their signature sounds, and have fun while doing it. And the conversation was broad, to say the least, and yet still made so much sense in a way that only a producer could navigate so fluidly.


RNGLDR: It seems like in every studio, there’s always a fifth of something.

*Pointing towards bottle of Hennessy on the desk*

AB: Always. It's not a good studio if there isn't.

*Conversations about clam chowder and the dimensions of professional baseball stadium fences*

RNGLDR: Did you grow up here?

AB: Born and raised, North Nashville. Graduated high school, went to art school. Wanted to go to Belmont - but didn’t get in. Went to TSU for a year - and that’s where I met Cauz before I dropped out.

RNGLDR: And that’s when he met [Brian] Brown and all them?

AB: Uh-huh. But I moved to Miami - West Palm Beach - after I dropped out. That’s when I learned how to produce and stuff. You ever heard of Dubba-AA? The producer? He produces for NBA Youngboy. He went to TSU, and that’s where we met. I was his manager at first, but I’ve been playing the trumpet since I was in fifth grade, and picked up the keys. So one night we were just making a beat, and he asked me to put some chords down. Watching him through that process, I was like, “I gotta learn how to do this shit.”

He had made a name for himself down there because he was in a rap group that went really far, and then was a producer who made beats for all the local acts down there. So, I went down there, and we ended up linking with this dude named that was A&R for We The Best, and we were in that studio all the time, producing a lot of Kodak’s early stuff.

RNGLDR: Oh, that’s wild.

AB: Yeah! And what sucks is that we were producing all this dope stuff for him, but he was in jail, so we never had a chance to build a relationship. And so when he got out, I couldn’t even blame him. He didn’t know me - he didn’t know us like that.

We had a pub deal that was terrible at the time, but we were young and didn’t know. And the guys that gave us that pub deal were young and didn’t know shit either. The dude - he had discovered Zaytoven, he had discovered City Girls, too - he was in jail for some shit, and that should’ve been a red flag, but we didn’t know a damn thing haha.

But yeah, I was in Miami for four years, and then came home and started investing in the homies. Here we are.

RNGLDR: There’s definitely something special going on out here.

AB: There is. But we’ve just gotta tighten things up. If we tighten things up and have everybody travel for like six months and spread, get some culture, I think it would be a really great play. There’s just some things that Nashville can’t teach us because it’s just not here. Rappers can’t improve their sonics here. Hearing what kind of mastering and the types of mixing that can be done can be powerful, when it’s not done here man.

I really wanna have a month-long camp in Atlanta with all rappers. Like, “this is how hits are made. Now we don’t gotta make hits, but we need it to sound this good, ‘cause they got it.”

If Brian and Tim go down to Atlanta for a weekend man, they can push out fifteen strong tracks. A week here - two songs. Culturally it’s just different. Even with my label, they host their sessions from 9:00 to 5:00 like a job. We are night owls! We ask about nighttime and it’s a very stark gasp in response. There’s just a lot culturally that would need to change for Nashville to have it like that.

AB: Y’all conspiracy theorists?

RNGLDR: I can get behind one if the story’s compelling, but not particularly haha. How about you?

AB: Like when somebody has a really well thought out one, I’m there. I don’t mind hopping in that world with you. I might not live there, but just to see if you can make me believe it. But, we were in here not long ago talking about the Metaverse, and how it’s pretty much set up to have us living in Ready Player One.

RNGLDR: I just watched that movie on the plane here. I’m jumping in this one with you AB.

AB: Haha! Man, because if you put together the Metaverse, NFT’s, Bitcoin, and the coin and money shortage, then it’s like man, this is a dope ass evil villain play. Like if you’re really setting us up to live in a false reality, this is gonna work out well for those guys. I’m also a big post-apocalyptic guy.

RNGLDR: You think you would do well in that space?

AB: Hell yeah! I wouldn’t make it long. I’d die. But I’d be a main character for a while.

RNGLDR: Have you seen Train To Busan?

AB: Banger. That whole Korean cinema wave is crazy.

RNGLDR: This studio is a comfy space, man. Like you can just hang out in here for hours.

AB: And it’s been that, man. There’ve been times that I’m just making beats, and there’s a whole Madden tournament going on over here, or the game is on. There’s no place to go in town where you can stay late as possible, smoke if you want, and have options to do other things, and also do some live instrumentation. We’re just trying to curate the creativity here.

RNGLDR: So aside from playing the trumpet and the keys, I see a drum set in here. Is that for you too?

AB: Hell nah. That’s for someone else. I’ve tried for years but the drums are just not for me. I’m too old, and not in a like “I don’t have it” kind of way, but the way my mind thinks - the way my brain works, which is absolutely wrong - I just don’t know how to split my brain to be like “you do high hat, and you do kick, and you to snare, and all you guys do it at the same time.” I freak myself out too much. I overthink it.

RNGLDR: It’s a lot to focus on at one time.

AB: And to be confident. And to be on time!

RNGLDR: Yeah, that’s why I always think Anderson .Paak doesn’t make any sense. His ability to do that, and sing, and rap is crazy.

AB: Freak of nature. I love what him and Bruno are doing. I think Bruno had this in him, but there was know way he was gonna do it by himself.

RNGLDR: There are probably a certain amount of listeners, like me, that heard Mangelica Mink and then worked their way backwards. Your collaborative EP with Sebastian Kamae, fiftypercentgratuity came shortly before Mangelica Mink. Listening back, how do you think you evolved from that project to the next?

BLVCK SVM: I’ve just been working hard to improve every aspect of my artistry. Not even just the music stuff, but the business side. My attention to detail is up, my sound is more polished, my flows are more diverse, my references are more refined, lyrically, I’m more poised, and I’m working on all this stuff either directly in some regards or indirectly in some regards. Consuming more, breathing more, eating more - all the things that matter to me and my artistry, I’m just intentionally focusing on those things. From FPG to Mangelica Mink, it felt like I took a big leap forward in terms of all those things. And I wanted to reflect that in a sort of upscale feel. Which is why I started with Tarragonbutter, and then into Hyogo, and so on.

RNGLDR: And what about how you see yourself evolving moving forward?

BLVCK SVM: Moving forward, I’m not trying to reinvent myself as an artist. I think I’m in a good spot, But there are always improvements to be made, there are always ways to develop a better ear for production, or a different ear for production, or setting up rhyme schemes in way that I have’t before, developing flow patterns that I haven’t used before - or that I’ve only used sparsely in the past. All this stuff just makes me a better artist, but it also gives the next project a different texture. Doing all of those things, and knowing that I’m doing all of those things well, gives me the confidence that I feel like makes my music sound better, because it’s inherently in whatever I’m writing or recording.

I don’t know if other people really notice that song-to-song or year-to-year, but I feel more confident in my artistry than I ever did before, and it feels like when I’m writing, that there’s a different feel to it. When I’m listening to it back, there’s a different energy to my music. With this upcoming project - it’s written - I think it reflects more how I’m even closer to where I’m trying to get. How this project sounds is gonna reflect all that.

RNGLDR: With that next project, and without asking too many specifics, what are you trying to convey with it?

BLVCK SVM: One idea is cohesion in a way like I’ve never done it before. Intentional cohesion. I’ve written all these songs in a window of time that’s not like six months or three months, but all within a month I would say. One producer - Pilot Kid who produced Hyogo. I’m really into the projects that The Alchemist makes, where there’s one rapper and one producer. Fetti by Freddie Gibbs, Curren$y, and Alchemist is in my top five albums of all time. You can tell that they had a neural link with each other when they were making that project, and that’s what I was trying to accomplish with this one - what we were trying to accomplish with this one. I know it’s recency bias - like the songs are very new to me - but I’ve listened to all of them, and I don’t even know which one is the craziest one. The whole line-up is a killer. I’m having trouble picking favorites, and I know I’m gonna have trouble sequencing because my tendency is to put what I feel like are there best songs up front, and the ones I don’t like as much at the back. Now, I’m anxious that I’m gonna put some songs in the back that won’t get as much love as they should, because they’re all killers.

RNGLDR: That’s a good problem to have.

BLVCK SVM: It’s a nice form of stress - like, ‘this song is too hard to be in the back.’ I’m more excited about all of this than anything I’ve done besides maybe Hyogo.

RNGLDR: I’ve got a homie that’s convinced that the third track on any project is always the hardest.

BLVCK SVM: That’s really interesting because there’s definitely a strategy behind track three. There’s intention behind that one. I’m gonna have to go through my favorite projects and see how that lines up.

RNGLDR: Well, we’re stoked to hear the project then - especially track number three. Do you have a rough idea of when it could come out?

BLVCK SVM: Hopefully the whole thing by September or October. Just trying to dot all my I’s, cross all my T’s, and make sure that the rollout is tight. The mixes, the cover art - all of the non-writing stuff, that’s what I’m focused on now. Sample clearances - making sure I’m doing everything by the book.

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