Were you into karate as a kid?
I think every boy is into karate or else you're kind of different. If you wasn't into karate as a kid growing up, I don't know. That's boy-boy shit — real man shit. I don't know one kid that doesn't go outside kicking and punching like he's a Power Ranger; it's in you. Everybody can relate to that, even women. I know chicks that tell me they used to wanna be ninjas. Like, "Yo, I used to want to be a ninja," not knowing that a ninja is a straight assassin.
You used six different producers on this album yet it maintains a cohesive sound. How did you achieve that?
I kept my ear. Coming off doing an album like Pain Language [which was produced entirely by DJ Muggs], I learned to identify the sound I'm trying for and staying in that lane. That's a technique in myself — that's a difference between a mixtape and an album. You see on my mixtape I have the two slow, Down South joints at the end because [anything goes]. As far as the album, it's a movie; you don't wanna go from a western flick to a kung-fu flick to a comedy flick.
What movie character are you most like?
Master Killer, because he had to go through all the levels. He started at the bottom and made it to the highest degree, which was going out into the world. That's how I feel; I had to go through all these levels with the rhyme shit. If you listen to my old albums, I don't sound like none of that. And some of my supporters don't like how I rhyme now compared to how I used to rhyme, but what they don't realize is those [old] rhymes I was throwing any kind of punch and any kind of kick. It was like fighting blind. You can't be kicking and punching with no target. I'm better now because I can actually see the Matrix. I can do anything I want now. I'm the dude that can fight with his hands behind his back. (Wandering Worx)