Speaking about the album, it’s clear that Coco & Clair Clair are of one mind. They finish each other’s sentences, trade fond memories, and even showed up to our call in matching gray shawls, fitting for an early morning interview following a dinner and night out together. “It started with dinner, then a couple martinis … which is always how it starts,” Clair Clair confided.
And there’s much to celebrate, with the deluxe album freshly out in the world and backed by plenty of big names. Empress Of’s upbeat remix of “Cherub” bounces joyfully, Club Eat infuses their signature pulsing rhythm into the sugary sweetness of “U + Me”, and HOMESHAKE transforms “Pop 1” into a melancholic tune that opens with the popping sounds of a blue text being typed out, sound on. Liam Benzvi, whose star is swiftly rising, turns “Lamb” into a lightly soulful ballad softly reminiscent of Saint Etienne.
But Coco & Clair Clair aren’t playing favorites — it’s easy to see that each of the album’s remixes brings something different to the duo’s particular brand of sound. “It's hard, because I feel differently about all of them and how they would fit into that. I was excited to get Club Eat on [the album] because I’ve known them for a while,” shares Clair Clair. “They were some of the first people I met when I moved to New York. And so to see them get bigger, bigger and bigger and then finally be able to align with each other and associate with each other on a professional platform — it was really exciting to make that connection. But also HOMESHAKE! I’ve been a fan for years. I almost can't believe he did it.”
“We just DMed him randomly!” Coco says, with a bit of lingering surprise. “Like, ‘Do you want to do this remix?’ And he just said yeah.”
The deluxe version of SEXY comes at a moment in time when Coco and Clair Clair have already established themselves as purveyors of a kind of sour patch rap-pop that drops lines like the aforementioned vape lyric in a sing-song tone without missing a beat. Their songs are dense with culture, a Tumblr-esque pastiche of references that play witness to the duo’s deep knowledge of the internet. “I'mma Jordin Sparks you, that's right, no air” (from “Cherub” on SEXY) — a threat layered with a reference to Sparks’ 2008 single — gets me every time.
And the vape pen in question? “I always envisioned a JUUL. But it’s actually such a deep insult because there are so many freaky shapes,” Clair Clair says. “I don’t know that much about vape pens, actually,” adds Coco. “I remember that I wrote that lyric down on Christmas day. I was fighting with this girl on Instagram.”
For the two, this back and forth is what makes the music. “I feel like I am like a Sour Patch Kid — first they’re sour, then they’re sweet, you know?” says Coco. Clair Clair nods. “We could just flip on a dime. Very quickly.”
But these musical mood swings are also a part of the duo’s dynamic. Working as a team allows the two to play off of one another — and also to flag when things are going astray. “We'll be singing cute little songs and then be like, ‘Okay, this is getting corny. Say something funny.’ And then it gets too dark,” laughs Clair.
This triggers a memory for Coco: “Oh my god — remember that time I did that freestyle? It was when we first started making music — I was freestyling this song and [Clair Clair] could hear me and [the lyrics] got dark and she was like, ‘Wait, what?’ I do it more often, where I'll go off the deep end and she reels me back in a bit. And then it's magic.”
It’s here at this magical point that the duo finds their stride. With the deluxe release, they’ve taken the time to curate a more focused public persona, both inside the album itself and its VIP guestlist, as well as the visuals. “What's so good about extending the release and breathing new life back into SEXY is that, with the rollout, we're still kind of getting our footing with how releasing stuff goes, since we're a small team,” shares Clair Clair. “With the remix album, we've paid extra attention to [the rollout]. Even down to the visuals and the people we worked with — just a statement on where we are.”
And their sound has grown as well, congealing into something increasingly instantly recognizable. “We're constantly solidifying our sound, the older we get,” shared Coco. “It's both the same and more refined each time.”
Clair Clair agrees. “There's definitely a vibe — like something we probably can't even put our finger on, that we always look for or try to emulate in a song.”
“I remember when we were making SEXY we were just listening to like Jewel and Sheryl Crow and Dido,” Coco recalls, laughing.
Having that kind of space since the release has also allowed the two to grow in their relationship to their own music — even down to their feelings about particular tracks. “The one [on the deluxe album] I was initially the most excited about was the ‘Pop 1’ remix,” shared Clair Clair. “Because I didn't even really want to put that song out [at first]. We had written the lyrics for it like two or three years ago, if not longer, so by the time we recorded it, I was just already over it. But the remix of it is so, so different. And really brought new life to it.”
“I liked our lyrics on that song,” says Coco. “I feel like they’re more highlighted on the remix. They're more of the main focus.”
“It’s the song it should have always been,” Clair adds. “But then again, it’s such a casual release. It’s like, here are the remixes. Distract them while we work on the next thing,” she laughs.
“Buy us some more time,” Coco quips, smiling.
And what’s next for the duo? Like any good pop star, a holiday record.
"We did a cover of ‘Last Christmas’ — it’s going to come out [later this year],” says Coco. “We're really, really excited for that. I think it's going to change the world.”
Having grown up in the suburbs of St. Louis, Slayyyter worshipped pop culture from afar, idolizing stars like Britney Spears and Lady Gaga. In her most evolved album yet, Starfucker, the star is peeling back the shimmering curtain of the Hollywood fantasy to lay out the honest trust about stardom. reveal an exposé of nightlife, love lost, and the dark realities of fame. With sensual tracks like "Erotic Electronic" that make a perfect dancefloor makeout song, to more personal tracks like "Out of Time", the record is full of narratives of love, lust, dreams and delusions.
Having just completed the Starfucker tour, office asked the popstar a few questions about her life the past month. From pre-show rituals, to her tour anthem song, to the story behind the album's title, Slayyyter gives us a behind the scenes look at life on the road.
What is your favorite song to perform?
"Daddy AF". I feel like I always do that song last and I put the most energy into it. It always feels so electric and I end up screaming bloody murder and blowing my voice out.
Do you have a pre-show ritual?
Me and my DJ Owen Jackson do a shot to the song "Time To Dance" by The Shoes.
What was your favorite song to write on the Starfucker album and why?
I think "Out of Time" felt really therapeutic to write. I was walking around LA listening to the beat I had from Vaughn and kind of just thought about melodies and these lyrics started coming to me as I was walking around. All of my insecurities about success and where I am as an artist started pouring out, but I was writing it all in third person like it was about someone else. It's not just about me, it's also about a lot of things I see around LA. Fading stars that had a moment once upon a time, people really close to their dreams but just can't make it over the line. It's kind of a tragic song. Production-wise it feels very reminiscent of Michael Jackson.
Having been in the music industry spotlight for some time now, if you could change anything about the industry, what would it be?
I feel like there’s no middle class of artists right now, and it's super hard to break through. I kind of blame streaming and social media for it, but I also love TikTok and social media for other reasons so it's not something I'd want to completely change. It kind of sucks that everyone is required to be a content creator if they want their music to be heard.
The album explores the stardom and drama that surrounded the golden age of Hollywood — do you have a favorite scandal?
I feel like I shouldn't say haha.
What song has been your anthem while on tour?
"Tension" by Kylie Minogue.
What is your favorite city you’ve toured so far?
New York City!
What is one thing you don’t tour without?
A good pair of headphones, my digital camera, some good boots and my leather jacket. I also need to bring like a pair of uggs or something comfy for when the show's over.
How did you come up with the name Starfucker?
Me and my DJ were chatting in Nashville the day after my birthday. We were drinking bushwackers at a random dive bar, talking about exes, people we know in LA, and the music industry as a whole and he called someone I know a "Starfucker". That word just clung onto my brain and wouldn't let go. I knew right then and there it was the album title.
What were some personal or cultural references you used when making this album?
Blue Velvet, Body Double, 80s erotic thrillers, 90s Mugler couture shows, Sharon Stone in Casino, Drive, Ed Banger electronic, Chateau Marmont.
Starfucker feels like your most evolved and truthful album yet — how do you think you’ve grown as an artist since your debut album Slayyyter or Troubled Paradise?
I feel like I have elevated every facet of my artistry. I made a very cool, polished but not cookie-cutter pop record. I creative directed the entire era myself and feel like I know what I want and know my voice and what I want to say. I know who I am and I don't have as much imposter syndrome or self doubt as I did once upon a time.
What is one thing you miss the most while on tour?
I miss cooking in my apartment. I miss my friends too.
Tour snack of choice?
Skinny Pop. A must have, I'm a popcorn lover. I try to eat pretty healthy on tour though for the most part.
Starfucker has been the album I play when I need a confidence boost — what’s your go to album for that?
Britney Spears Blackout!
If you could do a surprise show with one iconic musician (living or dead) who would it be?
Elton John.
With a creative eye and ambitions that expand past the musical spectrum, Lord Apex has been the face of campaigns with major brands such as Supreme, Carhartt, New Balance and Nike, and is even working on an exclusive collaboration with Champion for his forthcoming international tour. Having already recently performed China, Japan and Manchester, The Good Fight will see Apex on the road again in March, kickstarting his headline tour in Amsterdam and finishing in his home city of London.
What was your upbringing in West London like? Were you always around music growing up?
Yeah, there's a lot of music lovers and musicians in my family, so it's something I was always around for sure.
Did you play any instruments?
A little bit, but not as consistently as I wanted to. I played a little bit of steel pans and I played a little bit of African drums, but I could never really stick with no instruments. My mom just knew I was into music, so she would try to get me to start different shit, but it came when it was ready.
Who were your music influences growing up?
All the early ones like Vybz Kartel, even older than that, like Buju and Capleton. But then all the hip hop shit as well, like Busta, Pharrell, Timbaland, Missy Elliott, in that sort of pocket.
Was it a fairly even split between UK and US artists?
Nah, it was a fair split between reggae and hip-hop. I didn't really listen to no UK. I listened to D Double because my sister did. But I wasn't really listening to it, it wasn't for me. Respectfully.
It feels like now the gap between UK and US music is being bridged. Is that something you welcome and want to see happen or is there a part of you that kind of likes that separation?
It's only separation if you allow yourself to be separated. So by calling yourself “UK rap”, just because you're from the UK, you're almost closing so many other doors for yourself. You know what I'm saying? So I'm good. I'm a world wide rapper. I would never consider myself ‘a UK rapper’. I wouldn't consider US hip-hop, ‘US hip-hop’. It's just hip-hop because it started over there. Rap is rap. When people start putting the borders on it, they start closing doors for themselves. So I don't really do that, and I felt like that's allowed me to get to where I'm at. I think of it all as one genre. We just come from different places in the world.
Is it true your stage name was inspired by Madlib’s?
Yeah, yeah, yeah. So I remember coming across his alter ego, Quasimoto, and I think at the end of one of his songs, he just referred to himself as “Lord Quas” and I was like, ‘I like the ‘Lord’.’ I already had the ‘Apex’ by that point.
It must feel nice to now have him collaborating on your album.
Definitely a beautiful full circle moment. Yeah. Yeah, it's nice.
How did you connect with CJ Fly for ‘Belize’?
Oh, man. I grew up being a big fan of Pro Era. I owe them a lot of respect. So me and CJ Fly, we played a festival together in Renne, in France and we had a good vibe. CJ's another one that's grown up with Jamaican heritage so it is natural. It's natural for me. I'm very proud of where I'm from, so I would collab with every Jamaican artist if I could.
Yeah, Pro Era was a favorite for me growing up too.
But even outside of that though, growing up CJ was one of my favorite artists, so I was glad we got to make that happen. And we got a couple more in the stash.
I was looking at the lyrics for ‘Vintage Garms’. Has fashion always been something that you've been into?
Yeah, man. From the Primark days, we used to get fly. Real life.
I love the song ‘Muuma’.
Ah, yeah. I played it for my mom. She loves it. She was like, “I don't want to be biased, but it might be the best one.” I was like, ‘you right mom.’
No, it's my favorite too, to be honest. Has your mother always been a big influence on you?
For sure. I wouldn't be here. Everything; mentally, physically, all of them. All the ‘-allys’.
And in terms of your music career too?
Yeah, she gave me the freedom, you know what I'm saying? When I wanted to take a gap year off to expand my music, she was like, “all right.” So here we are.
That's nice she gave you that trust. How do you find it navigating the music industry and maintaining your creative control?
Man, I maintain creative control by just being like, ‘I'm not doing this over here and I'm going to do this over here.’ I'm a bit cheeky, innit. I feel like the industry's trying to maintain me. It's the other way around. I'm not even trying to maintain the industry because I'm going to just keep moving and flowing like water and doing what I got to do. The industry is always going to be the industry, but the industry is not set up for you to be successful. So if I was to follow the trends of the industry, I probably would not end up successful. I’d probably be a couple hundred thousands in debt because I'm trying to follow something.
Whereas if I created my own industry, you’re going to follow what I'm doing. So that's what I’m on. I'm going to create my own industry, my own empire, my own infrastructure and then you ain't got to worry about that. And then generational wealth and all of them things there, they just flow in naturally as they should.
Is there ever pressure from external influences to create hits or more commercial music?
Nah, I record what I want to, man. And one thing that's kind of dangerous about me is if you tell me to do something and I'm not here for it, you are almost going to push me to do the complete opposite just to be like ‘fuck you.’ If there ever was a point where people were like, “I want the old Apex”, I would just create a whole new one that they don't like, just to be like, ‘I'm not going to do what you like.’ And that goes for all parties involved in what I do. I'm always going to make what I make. I call on opinions but when it comes down to it, I make this shit. I've been making shit. It's not my first album, it's like the twentieth. You know what I'm saying? This is not my first walk in the park.
So outside of everything else, I take in creative and other opinions, but I do this and this is the one thing that I do that's very personal for me so I kind of don't want to even hear shit when it comes to making albums. I'm speaking on my life. So you may know me, but you're not in my head, so you're still not going to know why everything is chosen. Creative control, it can get sticky. I can turn into a real ignorant guy, just don't fuck with my creative process. But other than that, everyone knows it's love.
What do you feel like the next few years hold for you?
These braids are going to keep getting longer, the love's going to keep getting stronger. More art. Hopefully we expand off into the movie world, the film world. If not, buy some other scripts. Probably buy some short films that I'll do myself. That's been on my bucket list for a long time. More merch. I got the first batch in of the new shit. Hopefully we just keep the new shit going. Merch, but more officially on a clothing brand scale. But I kind of don't want to say clothing brand yet. It's a different pressure. The word ‘brand’ already is just wild. Hopefully some more collaborations with some cool brands that I grew up looking up to. And always new music. The offers keep coming in but I feel like when we hit 2025 I want to slow down touring a little bit and we’ll just have to double the number. And if you want me, you're just going to have to pay that. If you're not going to pay that, I'm alright because we've got money over here now.
I love being on the road, but I'm a stoner. I'm tired as hell. It drains me out. It's long as hell and I don't get to travel with no homies apart from my manager. And it's lit, I love it. But I just feel like this solo traveling man… The first year was lit. Second year was alright, the third year feels like work. And it is work, it's what I do, it’s a job. I love going to see the fans in different cities and doing what I do, but me as a human, me as an introvert and someone that's not used to being around a whole bunch of people, it’s like, ‘let's ease up.’ So I think at the end of 2024 we'll discuss some new numbers and if they ain't hitting the number, I'm in the crib. I've got my little nephew, I need to look after. I've got family I need to look after so I can go put my time into some other shit. Not to sound ignorant and shit I'm just very certain on what I want.
I think that's the opposite of ignorant.
Yeah bro, you got to know what you want because they'll step all over you, trust me.
Absolutely. And I think to be able to come back and know you've got your family right, it's the most important thing. What should people expect from the new album?
The Good Fight is the start of a new chapter, man. The next one's probably going to be Smoke Sessions 4, and that's going to be the last Smoke Sessions. We're going to close the little Smoke chapter on my life and we're just going to be on some more mature and different shit. I'm kind of tired of talking about smoke myself. I just do it so I talk about it. LLCs and fucking savings. That's what I'm thinking about moving forward. And love. Building family. All of them things.
