Being from New York, have you experienced the music community change?
It’s funny, I feel like I’ve been on the periphery of it. I have a lot of friends in different cliques, but I never felt like I belonged to any specific group, even though I have an incredible support system that I’m really inspired by. I always felt like the way I wrote songs and presented myself was a little different. A lot has changed since I first started music.
The project has interesting collaborations on it, like Dev Hynes, Aaron Maine, and Ren G. In that way, it’s really New York. How have the people around you influenced the project?
I’m so inspired by the people around me and their work. Most of the songs were all written first, and I wanted to find ways to give them more life with features. With Dev, I wanted to collaborate with him since we worked together in the past. I previously sang on his most recent EP, and I was basically in Blood Orange during the Harry Styles shows at MSG. I knew our voices sounded good together, so I wanted both of us on a song. It honestly took me a year to build up the courage to ask him if he wanted to be on the song, and he was totally down. The song Aaron and I produced had been a work in progress on and off for two years, and we finally finished it earlier this year. Ren is one of my closest friends and brings a kind of levity to everything she touches.
I love her. You guys have such different styles. I’m so excited to hear the song you have together.
Oh yeah totally. Ren has the best music taste of anyone I’ve ever met in my life. We immediately clicked on that first. We have such kindred music tastes. She’s like an encyclopedia of music knowledge. Dev and Aaron are too! I love people like that, total nerds in a way.
What are you listening to right now?
Oh gosh. I’m listening back to everything that I was influenced by while I was recording. I want to see if I can spot my references. I was listening to a lot of George Michael, The Dandy Warhols, and Jimmy Eat World, honestly. I love the idea of this early 2000s singer-songwriter, borderline gay guy in music. Kind of like an Enrique Iglesias type of figure.
Enrique Iglesias? Like a metrosexual guy?
Yeah you know what I mean? Like metrosexual or metropolitan, loungey, emo-dance music in conjunction with guitar music and the snottiness of britpop. I was really inspired by the attitude of Brian Jonestown Massacre and The Dandy Warhols. They were kind of doing Britpop in a Portland, Pacific Northwest way. There’s this song “Not if You Were the Last Junkie on Earth '' by the Dandy Warhols that I listened to constantly for the last year and a half. David Lachapelle did the video for it, and the band hated it even though it’s such an iconic video of these dancing girls dressed in syringes. It was so inspirational for me because it was how much humor I wanted to put in my project. I found the presentation to be so engaging.
Yeah I love how much humor is in your project. I love the line in “Dust” when you sing, “When I think of you / All I think of is your dirty room” What’s the dirtiest room you’ve ever been in?
It was probably my freshman dorm. I had a crazy roommate who would trash it. He was a dancer, so he would exercise in 5 hoodies and sweatpants with the heat on. It was like a garbage dump / sauna. I would have to interfere with his situation.
Was that around the time you opened for Azealia Banks? Tell me about that tour.
Yeah she was my good friend in high school and we were in musicals together at LaGuardia. My old band, Strange Names, opened for her on the Broke with Expensive Taste tour through North America. It was so fun with such a crazy rowdy audience, but some of the coolest people ever. She’s great, and we continued writing together afterward. We did something together in 2019 that we abandoned that sounded like a show tune.
When I was listening to your music, it brought me out of my body. It taps into this dreamlike world. What are you typically thinking about when you’re creating and writing about this kind of atmosphere?
This record is borderline testimonial, and I typically write first through gibberish and fit in the words afterwards. I write a lot while I’m walking and daydreaming. I tend to write about myself in the third person based on how I think people are perceiving me.
What kind of objects do you have that inspire you while you’re creating music?
I’ve only had this home studio for a few months. When I was writing this record, I demoed a lot of these songs on my friend's equipment because I was moving around a lot. It was kind of a crust punk-y in a way, but I would probably say my dog is a really grounding presence in my world.
This upcoming project is different because it includes your band also. How did you all come together?
I knew I wanted them to be in my band before I knew they played instruments. My initial thought was that they were going to be miming everything like total theater. They were meant to look cute and stylish like a TV program, (The Monkees or S Club 7). We got into the rehearsal room, and it became apparent that it would just be easier for them to learn the songs. I was really inspired by these 70s, European one-hit-wonder boy bands who were industry plants, so “Splash Band” was super in that world. We all created lore for our characters in the band.
What is it?
There’s Dalgo, who’s a semi-retired hustler; Tony Jet is a Balkan bodybuilder who just arrived from a war in the Balkan Sea; and Silas, who is obsessed with how he was abducted by aliens. We all ended up in New York and created the band to get by.
What about yourself?
I’m just Liam, but I wanted people to know that something-something wrong side of the tracks, been through something-something tormented. As today is the day I released a song, I’m typically insufferably on my phone with a grass is greener mentality. I’m usually a total terror to be around when I release music.
Watch the video for "Other Guys" feat. Blood Orange below.
When did you start producing?
9lives— I would say the first time I ever touched software was my second year in high school. It was a class that we just had to take, a mandatory class. One of the assignments was to just make a loop of a song, I guess. And that's how it kind of got started.
Was there any artist in particular that lit a fire under you, or made you want to begin producing/making music?
At the time? I was listening to a lot of Pharrell, a lot of Tyler, The Creator too, and then back then it was also like the glory days of the SoundCloud rap scene, so X and Juice Word, Carti and Uzi and all that. So it was kind of that side as well that influenced me to start making music.
Was SoundCloud important in your musical development? How much does that platform mean to you?
Yeah, it's huge. It's like my Instagram, basically. I've been using it ever since I was a kid, and then ever since it kind of got super popular, like in 2018 or so, I've just been on it every day basically ever since. It's kind of just an underground network for a bunch of up and coming artists and people that haven't been discovered yet.
Yeah. And why do you think SoundCloud has had the staying power and relevance into the 2020s? I know a lot of people thought that SoundCloud would fall off, especially when it seemed like the heyday of trap music on the platform was kind of over, but it seems like it stuck around.
That's a good question. I think it did kind of die down for a bit, and then obviously COVID happened, so it was kind of like a resurgence of people just being able to get back into their creative flow because they're stuck inside. So I guess SoundCloud is just a platform that people kind of ran to in terms of just where to put their stuff out.
I know you and other producers have gained notoriety from “type beats” and then leveraged that into a more collaborative career. How do you feel now reflecting upon your "type beat" era?
I mean, yeah, I think I got in and out at the right time. I feel like a lot of artists now are kind of staying away from type beats, and I'm not too sure why, but I just feel like artists are starting to reach out to producers directly a lot more, which is definitely a good thing. I feel like producers get overlooked pretty often in the industry, but it [type beats] definitely helped me a lot. Honestly, I think nowadays it's a bit oversaturated. It's like a million people doing type beats.
How would you explain “Sigilcore” to someone who is unfamiliar with the subgenre if they asked you about it, and how did you find it?
I would just describe it as kind of like the darker side of hyper pop and trap, but it's very ethereal, kind of ambient and reflects a ton on the early 2000’s and what was going on at that time. In a nutshell, very video game influenced as well. A lot of the visuals and aesthetics come from the 2000’s and early 2010s era video games. I found it through this artist, Luci4. He was pretty bumping at the time I found it, which probably early 2021, maybe late 2020. He was kind of going crazy on TikTok with all the edits, and that was a big part of the community, with the editing culture and how people would just put these crazy songs in the back of the videos.
Do you feel like Discord and COVID played a role in your artistic development? And were you in Discord producer servers participating in Beat Battles, things of that nature?
Discord was huge for me in that it was really the only way I could connect with people, especially people my age. They just genuinely gravitated towards Discord, as it’s so user-friendly for sharing screens and playing games together and all that. So that was a big part of my COVID era for sure. It's really optimized and so easy to share stuff around and create communities.
A lot of what you're saying goes back to the internet, but did you ever participate in the New Zealand or Australia music scenes, and if so how do you feel like those scenes influenced your work?
In the early days? Not really, because obviously New Zealand and Australia are such small communities, and then the music community is even smaller, so it's kind of hard to get your name around there. But I find myself now finding joy in finding artists that are in New Zealand and just helping them with their music.
I'm sure a lot of your collaborations came about online. What's your preferred, or at least the most effective method of collaboration?
The tried and true method is obviously being in the room with the person, you can just provide real time feedback. You can feed off their energy and their vibes. But I feel like Discord is honestly the best alternative way, just because of the screen share feature, you're kind of doing what you would do in a room, but just online virtually.
What do you think the legacy of SoundCloud in the 2010’s will be? When we look back in 10, 20 years…
I think it's legendary, honestly, the amount of artists that have come out of SoundCloud and that we see as legends or basically almost like landmarks really in the community has been undeniable. SoundCloud definitely changed even the industry side of music as a whole. Even now I'm seeing a lot of mainstream artists almost go back into the underground and find new artists and find new styles and sounds. So I think it's something that will always be around for sure.
Can you point out a couple of important touch points in the development of SoundCloud production? I know recently Plug has changed a lot of stuff, as has Jersey Club and Drain Gang.
Yeah, I feel like all those artists you mentioned, they influenced me as a whole. Obviously the plug sound was everything back in 2016 to 2018, and then even the Drain Gang sound- and that whole collective inspired me, even fashion wise. I still listen to all of them, but I feel like for me and my personal style, it's just a bunch of sounds that I've been influenced by and I’ve kind of just put it all into one.
How do you feel like you represent yourself when it comes to a consistent vision with your overall artistic aesthetic in videos, fashion, and cover art?
Well, definitely I feel that a lot of my stuff is very on the darker side, but I like to keep the brand almost very ambiguous and mysterious. I feel like that's what keeps people interested and draws people in because they'll want to learn more about you and see what's going on. I guess visually it’s a lot of darker, mysterious sometimes angelic-ish themes.
And how do you feel like you express yourself through your fashion? Do you feel like it's a very vital form of self-expression for you?
It's definitely a big part of my life, and obviously self-expression is important, what I wear, it's very form-fitting, very sleek and clean. It's kind of like my production. My production's very simple really, but very clean sounding and all that. But I think, yeah, my fashion sense kind of just comes from whatever I draw inspiration from recently, like Playboi Carti’s style, or Ecco2k who is a fashion icon.
You’ve recently blown up in popularity, especially on streaming. How do you personally reconcile artistic growth and experimentation with financial stability and pop music success? Do you feel pressured to concede on your sound to achieve more pop music success?
I always think there's a way to blend sounds and kind of stay true, but I guess my philosophy is just to stay true to what you enjoy. Obviously if you're not enjoying making it, then it's not going to be true to yourself. I always just find myself making stuff that I'm listening to at the time and enjoying art that brings me nostalgia and all that. So I guess just making stuff that I genuinely, really enjoy making.
So do you feel like everything's happened super organically?
I mean, two years ago I was basically making what I'm making now, but in my bedroom. So everything's just given me a new platform and just pushed me internationally and given me a lot more opportunities that I otherwise wouldn't have been able to have.
Okay. I've heard you say that you consider yourself a versatile producer. Would you ever consider completely switching sub genres or even genres?
Good question. I was always thinking it's probably not a good idea to switch crazy, but obviously the sound's going to develop and it's going to evolve over time. But there's always a world where you can do just production with artists, and it doesn't have to be your name painted all over it. It can just be helping in the room or just sitting in the room and being like, oh yeah, that sounds cool. You can try add this or, but yeah, a lot of the sessions I've had out here have been in a different kind of musical land, and I've making a lot of alt music, a lot of pop style songs I guess.
Would you ever do what Uzi did on Pink Tape, explore more rock music sounds?
Yeah, I'm definitely open to it. I mean, I love rock music. I definitely love the UK rock scene, it has some of my favorite music, like Joy Division and all that. Recently, Iv'e been bumping a lot of my Bloody Valentine, I love them. Charlie XCX, she's great. Dean Blunt too, and Snow Strippers are a really cool group.
What producers do you feel like don't get their flowers enough?
I feel like P'ierre Bourne definitely doesn't get enough flowers. He's very overlooked in a way. I guess he's basically influenced everyone that's in my kind of bracket indirectly or directly, but I'd say he's definitely a producer that deserves a lot more flowers. I feel like people even overlook Tyler, The Creator as a producer, I feel like a lot of people don't even know he produces in the first place. But he is an amazing producer, a great composer,
Where did the name 9livescome from?
Yeah, so it's from a game. It's Game called Model Warfare 2 in the Call of Duty series. There were these customizable calling cards that you could use. I was just a calling card called Nine Lives that I used a lot as a kid, and I never really changed it.
It was basically your gamer tag.
My gamer tag was actually SmoothCriminal54 back in the day.
Do you still have time to play video games?
Yeah, I love to. I mean, it's one of my main sources of inspiration and it's kind like therapeutic to me. I've been playing them since I was a kid.
What about video games inspires you in your music?
I mean, the soundtracks. My biggest inspirations soundtrack wise are Silent Hill and Final Fantasy and all the kind of more fantasy style games. Also, a lot of visuals from video games I like to take and flip into my visuals that I use in videos and visualizers.
Do you think regionalism is still alive in rap music?
I don't think so, no. I feel like because of the internet age, people don't even care where you're from at this point. I mean, take me for example. I feel like a lot of people in the US don't even know New Zealand exists, but people still enjoy my music. It obviously is [still alive] to some degree, but I feel like it's a lot looser now. People are welcoming the UK scene and the European scenes and all that.
Would you ever make a boom-bap song, like a nineties golden age rap song? Alchemist, Madlib, J Dilla type thing?
II actually do experiment with boom-bap in my spare time. I mean, that's one of my favorite genres. It's just got so much soul and it's just got the vibe to it. But yeah, I've never really thought about properly making one with vocals and stuff on it, but I always make instrumentals that are boom bap inspired and all that.
Watch the visualizer for "I DID IT" ft. Kanii & Anycia below.
Nuna is refreshingly thoughtful and introspective, and more than happy to indulge my philosophical trains of thought; the arrival of our order of mozzarella sticks is enough to trigger an existential train of thought about culinary arts as the most primal form of human creativity. We discussed returning to the root of her love for music, staying true to herself, and riding the wave of the new digital revolution. Read our conversation below.
AUDREY wears JACKET and SKIRT by DION LEE, SHORTS by 7 DAYS ACTIVE, SHOES by ALEXANDER WANG, JEWELRY by CHRIS HABANA
Brook Aster— What was your early childhood like in New Jersey?
Audrey Nuna— It was very peaceful. Definitely a bit confusing, in terms of just not having a community around, but still I think all of it just played into finding myself on the creative side and filling a lot of my time with making things at a young age, and that was great.
What was the early conversation with your parents like, telling them that you wanted to pursue music?
I don't think it was ever even a conversation. I expressed interest in music and singing from a really young age, so it was kind of just known, like, she loves that. They pushed me in the route that they knew, which was a very academic form of music; joining choirs, doing musicals, that sort of thing. They were really supportive from the beginning, and they saw this thing in me that they probably in a way recognized in themselves, but they didn't get the chance to express it that much. They had to learn how to survive in a completely new country, and that takes up a lot of your time, a lot of your energy. They're both creative and they saw that in me, and they really wanted to give me the opportunity to build it more than they got the chance to.
Even if you grew up in this country, having the self-possession to pursue art is already hard. I always wonder what my mom would have been if she was born a generation later, and was born here.
You just gave me chills, because I just met with my friend who's also first generation, she's Filipino. We were just talking about this, about how much our moms have given to us and how much they had to give up in order to allow us to do what we want to do. And I started crying at lunch. I was like, why is this hitting me so hard?
Out of all the people that I've never met, there’s no one who I care about more than the version of my mom before she had me. Like, If you showed up somehow in today’s moment, I would do anything for you.
It's actually wild because I had a show yesterday at Ludlow House, and my mom was there, so I brought her with me to the office [issue 21 release] party after. My mom loves music. My love for music, I think, or at least rhythmic music, 100% comes from my mom's side, and my love for melody comes from my dad. We had this moment when Memphy was playing, where I got to see a version of her that I felt like we were the same age for a second. We were dancing to this trance-like music together and it was just so genuine. I just felt really grateful to be able to share that with her.
Would you expect them to be into the kind of music that you make if you weren’t their kid?
[Laughs] To be honest, probably not. Maybe those certain songs my mom loves the R&B side and the dancier side of things, and then my dad loves just like the more classic melodic side of things. I think there's pockets of my sonic world that they would appreciate. But it all comes from them honestly.
AUDREY wears DRESS by ACNE STUDIOS, BOOTS by SACAI, JEWELRY by MARTINE ALI
On set, we talked about how you took a year off from NYU to focus on your music after freshman year, which turned into dropping out and releasing your first album. What was that first year like?
I was just rolling with the punches. My first year was awesome. I had such a good time moving into the city, moving into a place with so much more energy than I grew up with. For basically the first 18 years of my life, I was in this crucible of pressure, and a lot of creative suppression, and doing things out of boredom, like I wanted to do them but I wasn’t fully expressing myself. I think that when I hit NYU, I had so much potential energy. There was a moment where it shifted to kinetic energy.
What was the specific catalyst for you to take the next step and leave school to focus on music?
It was something I thought about for a long time, for the whole year basically. I was juggling school work and music, and going to the studio every night till 4am and then trying to make it to my 3pm music history class or whatever. It just came to a point of curiosity: what if I just put all my energy towards one or the other?
And also, affording school was really a big factor of why I wanted to stop, because at that point, I had been able to get some academic scholarships and financial aid, but then starting my next year, I would have had to go into student debt and affect my future in order to continue school.
All the signs pointed me to take the leap and just try. So I did. I didn't really have that much of a plan. I moved to a town right outside of New York, called Fort Lee. It's like the K-town of Jersey. I stayed there for a year, wrote my ass off, recorded my ass off, just worked on my craft for a year. And then, I don't know, things kind of just fell into place somehow from there.
Was it scary during that first period of time?
It's so funny, because people always ask me that, and my genuine answer is no.
I don't know why, but I think I'm more scared now than I was then. I think as you get older, your whole goal is to be your younger self. There was this fearlessness and it came from not being so scarred. Then you get hurt, and then you start to lose that fearlessness and you're always trying to replicate it. I realize that that's what getting older is: how close can you stay to that 19 year old self, who genuinely just wasn't scared?
Totally. It’s easy to think that what you're accumulating is wisdom, but sometimes what you're actually accumulating is sensitivity, or pain.
Maybe even a little bit of bitterness, at least speaking from my experience. How could you not get a little jaded out here? It's pretty wild out in the world.
I really idolize my younger self, I think for good reason. I think we all should. Even with the creative process of making this project, I considered it as a pilgrimage to try to do what I did in that gap year. Not necessarily in the same place, or with the same people or the same conditions, but the energy of it; I was like, what the fuck was I on? and just constantly trying to get to that place.
AUDREY wears JACKET and HOODIE by BALENCIAGA, SHORTS by 7 DAYS ACTIVE, BOOTS by R13
I was watching the videos for “Cellulite” and “Joke’s On Me,” and there's so much floating, flying, and images of you being untethered. How does that factor into where you've been emotionally and artistically? Do you feel like you’re being set free?
I appreciate that question. The huge theme of the project is this idea that you cannot separate the good and bad. The more you go into this journey of living as a human being, the good and the bad become so intertwined. I really wanted to express that ambiguity.
I don't want to lie and say that I'm fully there, but I think I'm the closest that I've been in a while to returning to that place of kinetic energy. This whole project was basically just a diary and a journal of the struggle to get there. It’s a very ironic, counterintuitive thing; how do I return to a state that seemed so easy at some point? It was a mind fuck. I think that kind of came across through a lot of the visuals because I myself was a little confused about where I was going. Where am I headed? So there was a lot of unfocused kinetic energy.
As you can tell, I'm a sucker for a simile, I'm a sucker for a metaphor, and especially in a visual. I'm curious about the crash at the end of the video. Do you feel like you've had a crash in the last couple of years, or a moment where you realize you've reached the end of the road and need to rethink things?
I definitely think so. For the first project, there was this feeling of newness and unfamiliarity in a very romantic way. I think the second project had a lot of harsh realizations, a lot of the darker side of adolescence and the things that you are rudely awakened to as you enter your mid-20’s. A lot of things came to an end. A lot of working relationships, a lot of friendships. My trust in human connection was definitely challenged.
Moving to LA was very much the end of the romantic era and it was like the start of something different. It felt like I was navigating through a darker side of town or something. Right now specifically, I feel a lot of new beginnings in the air, but this project was me processing a lot of pain. I would say hopefully the next one is starting the cycle over again. I think that both parts are important.
What is your relationship to LA like?
I would say my beef with LA in the first place was that I moved to a place where the results are so important. People tend to do things there.with just one motive, and I get it, because you're in a center of commerce. People tend to do things to get results.
I came up making music at my friend's house for fun with his wife cooking us tacos, and it somehow turned into my career. And then all of a sudden, I'm in this place where the career is everything. For a moment, I think that I forgot that for me, it's not just a job. It really is a passion and almost a hobby in a way. Trying to find balance in a place like LA was a really big challenge for me. I found that keeping it about the creativity was the one size fits all solution.
For example, the shoot that we did a few days ago [for office]. That was just a fun time. That was me making some things with really cool people for a day, and calling it press. I wanted to try something new, to explore a different side of this visual art form, so I did that. I have no idea what these photos are going to look like. And that's so exciting for me. That's what makes it.
I think in LA I tried to chase certain things for a bit and then it was not leading me anywhere. For a moment, I was like, why do I even do this shit? As soon as I found the fun in it again, and then started setting the boundary of, if it’s not fun I won’t do it, everything just started to click way more.
It's so different when you work with a group of people that are on that frequency. It makes a huge difference. I think that that exists a lot more in New York than in LA. I will say it's rare. You can find pockets of it in LA, but it's almost like a way of life in New York. It’s embedded into the culture.
AUDREY wears DRESS by ISSEY MIYAKE, EARRINGS by MARTINE ALI
Would you move back to NYC?
I would definitely move back. For the rest of the year, I'm going to be coming back and forth a lot, throughout the summer. I'm putting out a project this year.
I always used to say, “I never want to see a single palm tree in a music video!” which I still stand by. There's just something about the energy of New York, and my early days of shooting basically illegal music videos, without permits, that has informed so much of how I see creativity.
Another thing that really helps me — this is crazy, I didn't ever think I would say this — is the dwindling of resources in the music industry. All the budgets are getting smaller, everything is getting just more tough, everything's so saturated. There was a point of frustration, but then I started making shit with my friends who were just down because they love to make things even though it wasn't going to pay their normal rate. Everything just started to shift, the energy was just different. Regardless of the financial resources I may have going into the future, I just want to preserve that, whatever that is. You can't mimic it. You just have to feel it and that's what's so difficult about it somehow.
I’m curious about how you navigate the emphasis that can be placed on your racial identity in the conversation about your music. Is that something you think about, or that bothers you?
I think a lot of times I’ve found myself struggling to answer the question, because it's a very double edged sword. Sometimes people ask certain questions, like, how can we see your Asian American heritage in your music? And I’m like, I don't know. I just make music, and I'm Korean, and I grew up eating kimchi and I grew up hearing classic Korean vocalists, and all those things fed into who I am and in some way or another probably make their way into my work.
I understand the desire to empower, but I think for me it's all about agency. Who's curating it? Is it an Asian American person? Is it coming from a real place, not a quota? That’s what I pay attention to when it comes to how I view certain articles or certain initiatives. I appreciate the platform at the same time.
My biggest commitment is to being honest, to being myself. I genuinely think that my culture and everything about my heritage and how I came up will make their way to the surface. It doesn't have to be forced, it can be completely organic the same way that it's organic for any other artist. I understand that, because it's new, we're going to live through that time frame where the headline is always going to read “Korean American” or “Asian American.” But that’s just a transitory period. I think it's unavoidable in a way. I would love to just do my best work, you know, and be my true self.
That makes a lot of sense. How does that factor into the way you navigate your position as an non-Black artist who is making music that can be categorized as hip hop and R&B?
One thing that is for sure important to me is knowing and understanding the influence, and being a student of the craft and of the game. I have to be very aware where the music comes from, and that there is credit and respect due always.
Obviously, it really is just about being my truest itself, doing what I love but also giving credit and respect. Being a part of the community, not just like taking from it. Being myself, making sure I’m never putting on a costume.
Curiosity is important, wondering about your influences and digging into them. We need as a culture to head in that direction. I feel like the blending of culture is actually really essential to our human race not only surviving but also becoming better.
I think that gets at a bigger issue of globalization, and the way that cultural borders don’t really exist anymore because of the internet.
Obviously, it's a romantic thought, because so much of the world is still really, really, really fucked up. But I do think that we are moving towards a freer world. People have more access to information, and that's where it always starts. This is the confusing stage, but I think it is ultimately a good thing.
I don't want to be a dinosaur and I don't want to be resistant. And not only that, but I have no fucking say in this. This is evolution. We're just riding the wave of evolution. It's pretty cool that we are both alive in this time experiencing this. I think it’s going to be crazier than when the internet started, with the AI shit. Our world just went from black and white to technicolor all over again, and I don't think we're ready.
Things are going to look a lot different in a few years. It’s crazy to have had our brains develop amidst all of this.
I mean, talk about us — I don't even know about this generation below us. What the fuck are they about to be? They're about to be some bionic humans. My producer's kids, they're eight and ten years old. They know how to make beats, they know how to animate things, they know how to do every skill possible because they just look it up on YouTube. So much of our shit is going to become obsolete. It's crazy to think about. It's insane.
AUDREY wears FULL LOOK by SACAI, SHOES by DION LEE, EARRINGS by ALEXIS BITTAR, RINGS by CHRIS HABANA, GLASSES by GENTLE MONSTER
