It’s difficult enough writing three albums that stick to a single theme, but in order to maintain the cinematic value behind Brotha Lynch Hung’s Coathanga Strangla trilogy, the production had to be on point.
With Strange Music mainstay Seven returning for work on Mannibalector, Brotha Lynch Hung branched out a bit to the likes of Evan “NonStop” Fountaine of Basement Beats to round out to his final bloody chapter.
Just as Lynch’s “Meat Cleaver” music video closed in on 200K views, we caught up with Evan “NonStop” Fountaine to talk about his contribution to Mannibalector and his admiration for the West Coast veteran.
What did you produce for Mannibalector?
“Something About Susan”. I know he took two beats but I don’t know exactly what records he did on there.
Tell me about those and the work you put in.
They were both pretty much heavy piano beats. I just played a quick riff on both of them and put some nice sounding drums and stuff to it. There really wasn’t much work to it. I just went in there and did it like I do the process with all my beats. I go in there and bang it out to get shit, up to ten to fifteen beats done a day. I bang out as many beats as possible. He actually chose one that I was actually planning on using for a project that I was working on myself, but he wanted it so he got it.
Did you submit those beats specifically for Lynch or did they come to you and just say, “Oh, he needs beats”?
I work with Basement Beats, who I’ve been working with for a while and they were the ones who submitted them so I think that they submitted the ones specifically for his project. I didn’t actually get a chance to send it in myself. I’ve known Lynch for awhile, but we never worked together. We kind of planned on it a few different times, but he was going back and forth with the label situation before he got with Strange and that’s when he finally started being able to get better direction, A&R, and everybody putting together the projects for him.
Let me ask you this, were you a fan of his music prior to working with him?
Yeah. Lynch was honestly one of the people that got me into music.
Yeah, when I was in high school. That dark, that horrorcore stuff he was doing, it was different at the time when I was younger and I caught on to that. I could really honestly credit a lot of moves I’ve made in my career, the people I’ve worked with, from all the industry people from Twista, Juelz Santana and Big Sean and all the people I’ve worked with recently, I think all that credits back to pretty much Brotha Lynch’s music.
Because I was looking for some of his lyrics online in the early 2ooos and I came across a website called The Siccness and from there I kind of branched out and Lynch was one of the first people I reached out to and I ended up getting ahold of Tall Cann and I ended up doing a collaboration record with them and Zigg Zagg and that kind of jumpstarted everything. It was basically Brotha Lynch who helped me get into music.
I remember talking to Seven and he said the same thing.
Yeah, and those beats I didn’t make those with Lynch in mind but a lot of my beats – I pulled a lot of tricks and techniques from early Phonk Beta productions and stuff like that coming up. I was real big into Dre, Battlecat and Phonk Beta. They were the three producers that I tried to mold my sound after the most when I first started producing.
So every once and awhile I have to come back to home base and be able to get some beats out like that. Especially the ones that he picked that have a real Dr. Dre sound. I didn’t do it specifically for Lynch but you can understand why he was on to it. I pulled inspiration from his music.
I’m sure that’s something the old-school fans will appreciate. This is a three-album story – it’s unprecedented in this age of hip hop, how does it feel to contribute to that?
Since this is my first time working with Lynch, I’m honored to be a part of a project that’s so big in his career. Coming up listening to Season of Da Siccness and Loaded – Loaded was actually my favorite CD for years and he was the first artist that I really wanted to work with. I couldn’t wait to hear what Lynch did to my records and it’s an honor to work with him, especially for a project that’s so big.
As someone who has now worked with him, what does it take to produce for someone like Lynch?
I like the way he tells stories so it needs to be a beat that can invoke a person telling a story, and when Lynch goes in he starts. That, and it has to be dark and really bassy. I like the way he rides the pocket if you got the bass in there playing right. Lynch pretty much, he’s one of the masters at get into a good drumline and being able to ride that pocket. The drums, the bass, and it has to be on some gloomy piano type feel to it. You can give him some orchestral production. He sounds good over cinematic music though.
-Interview by Victor Sandoval, Strange Music Social Media Dept.
Follow Victor on Twitter: @VicMSandoval
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