Some of the unique takes on Special Effects can be credited to Seven, giving him the chance to explore his musical creativity and create a song unique to not only the album, but to the “Psycho Bitch” sequels. We talked to the endlessly creative producer, who told us why this song was one of the biggest productions he’s ever worked on.
Did Tech want to do a sequel to “Psycho Bitch“? Was it his idea?
We tried to do it on Something Else. It was a different idea, but it just wasn’t right, you know? I finished it and was like, “What do you think about this?” And he was like, “Yeah it’s dope, but it’s just not that.” I was like, “I know what you mean, I guess we’re just not ready for “‘Psycho Bitch’ yet”. With this album, it felt totally appropriate, you know? I was up for the challenge. It became its own thing.
So what kind of pressure did you feel making the third one?
Yeah, they’re such huge songs.
And plus, the first one’s on Anghellic, and I know that you’re a huge fan of that album. You know what this means.
That was the thing. When I went in to make “Psycho Bitch III”, I was like, let’s make it more of the pattern and the tempo of the first one. The second one is a huge production in itself. Rob Rebek did that one. The first one, Don Juan did. But that first one is the one that had the most meaning to me. So, I was like, let’s do it at that tempo, let’s do more of that vibe, but it’s got to be Special Effects, it’s got to be now. I envisioned it being its own movie. Every song to me was like a movie, I wanted there to be a story behind every song. And that one, that was one we did the stomps on, and the third verse just feels like Cirque du Soleil. That’s what I wanted it to feel like. Alien Warr did live drums on the outro part, it’s just huge. I wanted that outro part to feel like that’s where everything kind of changes. The third verse kind of starts to feel more like a movie soundtrack, you know? All of the strings go too, it feels like a score. And then layered with all the humongous percussion… I didn’t know who was going to be on that song. I was like, whoever gets that third verse has got to kill it.
Right, right. Thematically, what makes this song different than the other ones? It seems to me that this one is… I want to say darker.
Yeah, yeah, for sure. I was like, this one has to be the scariest one.
It’s hella scary!
This one just needs to be just straight-up scary. Like, it has to feel scary. And the other ones were, you know?
They were, but they were a little more tongue-in-cheek. Like, it’s sort of funny at the same time, you know?
I wanted it to be like classic horror vibe, but really scary. So, when I was making it, I was making sure that it was real scary. But still, just experimenting the whole time, with everything on that. There’s a lot of live elements on that one, too. Ben played guitar on the hook. There’s so much going on. That’s one of the biggest productions I’ve ever done, that particular song.
The drum choice is also very interesting. Tell us about that, because that’s not a snare I’m hearing… like, what is that?
Well, the third verse – is that what you’re talking about with the trash cans?
It’s the, you know, the BDP-vibe on drums, on the song just like all the other ones. On the third verse, I just wanted to do something different. I wanted it to feel like a movie soundtrack at that point. That’s when it goes to more the cinematic strings but all of the percussion, it’s trash cans and live stomps. I wanted it to feel like, I don’t know, Blue Man Group. So we just recorded all that live, just like, destroyed trash cans on that.
Now, what did you think of Hopsin’s addition to the song? He was the guy who had to do the third verse.
Yeah, he killed it. He was the only person that made sense for the song.
Hopsin is really good at theatrical stuff. He’s really good. Tech is really good at that, Eminem’s really good at that, and Hopsin’s really good at that. Hopsin was really appropriate for it because even a lot of stuff Hopsin does is almost from a movie, you know? He writes his stuff theatrically. Like, from a cinematic place, the way he writes. He’s really good at acting out parts and doing voices and stuff like that. He made sense.
How do you like how the song came out? How does it compare with the other “Psycho Bitch” songs?
Well, I love the way the song came out. To me, it’s the way “Psycho Bitch III” should be. It’s the only way it can be, you know, it needs to be that huge. Crazy to think that the first one is on Tech’s first album. On Anghellic, not his first album, but you know what I mean. The JCOR album. I love all of them, man. I think that if you listen to all three songs, back-to-back, you really see the growth. Where Tech came from and what he’s become.