“To my future daughter or son/The streams from this album gon’ pay for your college funds,” he raps on “Fetus.” He’s also eager to reposition himself. Limbo isn’t exactly The Big Day, but he places more importance on being responsible and dependable, pondering what it means to be a better son and a potential father. On the opener, he raps, “Beat so cold it made Aminé want to open up,” and the album is reflective of that accessibility he sounds uninhibited. It would be an overstatement to call the album mature, but it does seem to exist in a transitional state between carefree youth (as embodied by Good For You songs like “Sundays” and “Yellow”) and real adulthood. He mixes subtle bouts of introspection with kooky references to Jim Carrey’s The Mask, Allen Iverson’s infamous “practice” speech, and the guy in the AllState commercials.

The verses on Limbo are much more relaxed, the hooks are catchier, and his outsized personality radiates. The shock seems to have loosened something in him. To Aminé, the tragedy represented an unofficial start to his real manhood. (“That was like seeing Superman die,” he said.) On “Kobe,” Aminé’s friend, comedian Jak Knight, speaks of Bryant as a benchmark, his death a symbolic end of innocence. This was really nice, because we just shot it and then afterwards could decide what it was.Aminé’s shift was inspired at least in part, by the death of NBA icon Kobe Bryant. It feels “Hollywood.” I want to make films and videos, but not until I know I can do it exactly how I want to. The buildings are wide.Ĭharlotte: It’s really cinematic as well, automatically. That's the one of the things you take from it. We didn't have a lot of time in any of them.Īrchy:Ěmerica is super wide.

I think just finding that bag, it was like, 'Oh, shit.' Toluca, Houston, Tampa, Arizona, all of these places.Ĭharlotte:Ěll the locations were amazing.

I could literally map it out.Ĭharlotte: There were some pretty odd places as well.Īrchy: Whilst we were touring, there was a lot of stops in the middle of nowhere, where we weren't playing, but we were staying for one night. I've got hotel keys from every hotel, all of the receipts, everything. I'm like a mass hoarder when it comes to notes and stuff. But even here, like in Biscuit Town, it's the same character experiencing it.Ĭharlotte: Which is a bit separate from yourself, and I think that whenever you talk about those characters, you do reference films and certain people.Īrchy: I actually just found my bag from that tour and I haven't unpacked it. It was interesting, because the song disintegrates into something completely different before the end. And then, he wasn't on the plane.Īrchy: It goes back to being let loose on some beautiful imagery. But we were going to film loads on the plane too. So we couldn't film him anymore, and we missed the competition's deadline.Īrchy: He didn't get left there because he was drunk.Ĭharlotte: No, he got left because they fucked up the visa thing.

Everyone wanted to get drunk, and then Galgo got left in Mexico. We wanted to enter a sci-fi competition and shoot a video on tour in 24 hours, but when we got to Mexico no one really wanted to leave. We were very lucky in terms of the landscapes and the architecture that we got to film against.Ĭharlotte: We had all these amazing locations to film. We'd put on our outfits and go out and film it. My outfit stayed the same and Galgo's outfit kind of stayed the same. Him behind me playing sax and then disappearing. So, the concept of the video became that he’s this important figure that I couldn’t quite get my hands on. Archy: Galgo came along in real life and influenced me to write more and more.

Trap limbo music