067RED discusses his last album and why he covers his face. The Interview

Peace bro. Your name is new to the underground scene. Our good brother 1000Words put us onto you and we were immediately impressed by your music. Whether it’s your sound or the names featured on your latest project (RED SHOT MY PORSCHE WINDOW), we were surprised to read that you’re from Los Angeles…which made us even more curious. Are you a Los Angeles native or did you move there? Tell us something about your personal story: where exactly did you grow up and how did the place shape you both as a person and musically?

I’m from a small town in Los Angeles County — not the flashy side people picture. I’ve been all over LA my whole life, so the city raised me in pieces. The funny thing is, growing up out here you don’t really get a crazy variety of music. You get what’s around you, and for me that meant a lot of G-Funk. I was heavy into Kurupt and the whole Dogg Pound era, and that ended up being a doorway into East Coast music for me. So my influences became this weird blend of textures and grit.

When and how did you get into music? And when did you start rapping? If we’re not mistaken, you also produce beats: what can you tell us about this side of your musicality? Why did you decide to produce beats as well?

I got into music around my freshman year of high school. A couple friends of mine were in bands, and one of them started making beats and recording. It turned into something we did almost every day. From there I taught myself everything — recording, mixing, mastering — just figuring it out as I went. I’ve been doing that part for about eight years now.

Producing beats is newer for me. I tried it in the past but never had the patience. Then last September I locked in and forced myself to really learn it. So I’ve only been producing for about a year and some change. The main reason I started was control — I wanted to rap over something that felt like me, not just whatever was available. Once I dialed in on that, everything started to click.

Is there someone or something in particular that pushed you to pursue a path in music? And what are your main influences, both as a rapper and as a producer?

It sounds cliché, but hearing Illmatic for the first time in middle school really pushed me toward making music. Me and the homie listened to it front to back, and that was the moment I realized I wanted to do this for real. Starting out with friends — and still having those same people around — kept me going too.

My influences come from a lot of places. As a rapper, it’s the classic stuff: Nas, Kurupt, that whole era. As a producer, it’s a mix of textures, moods, and little details I pick up from everywhere. I pull from painters, architects, filmmakers — people who create but don’t use words to express anything. That type of inspiration hits me more than anything. It makes me want to keep building and keep pushing my sound forward.

There’s a strong jazzy imprint in your beats, which connects you to a certain tradition and style of production tied to this type of sampling. Where does this love for jazz and samples come from? And what strikes you about a sample?

My love for jazz and samples kind of came naturally. Jazz has its own language, its own way of breathing, and I’ve always been drawn to that. A lot of producers avoid jazzy samples because they think it’s too simple or too soft, but to me it leaves space — space for rhythm, space for texture, space for the voice.

I’m still early in my journey as a producer, so I’m constantly learning how to shape those sounds. Before I ever made beats, I wasn’t the type who needed loud drums or big snares. I liked things that felt loose, that had air in them. Hearing artists like Roc Marciano really helped me understand that the voice is the main instrument, and everything else should move around it. That idea stuck with me.

What grabs me in a sample is rhythm — not just being on-beat, but how the beat feels. Growing up out here, you hear rappers like E-40 or the whole Bay scene rapping ahead of the drums or in front of the snare. That off-kilter style always felt fire to me. Jazz is the same way: it’s on time, but also not really on time. I try to blend that feeling into my production. That’s where my sound comes from — that mix of swing, space, and controlled chaos.

Can we ask what you did/do in life when you’re not making rhymes or beats?

When I’m not making music, I’m usually working on film. I’m really into foreign films and older cinema, so I shoot all my own content and I’m always writing — pilots, short pieces, little scenes. Creative writing is kind of the other side of what I do. It’s the one place where I don’t overthink anything. Outside of that, I’m just with the homies, at the store, or out moving around the city. But most of my time goes into film and writing. It’s all connected to the music in some way.

Where does 067Red come from? What’s the story behind the name?

It’s not as glamorous as people probably think. ‘067’ was just a locker combination I had as a kid, and it stuck with me. I used it for a lot of things growing up, so it became a part of my identity without me even trying. ‘RED’ is my favorite color and the energy I’ve always connected with. But it also carries weight for me — a very close friend of mine who passed away had an album called RED. So when the name came together, it felt like one of those things that happens for a reason. A piece of my past and a piece of her, all in one.

Let’s talk about RED SHOT MY PORSCHE WINDOW: first of all, how did the title come about? And how did this project come together? What inspired you in writing the tracks and what story or message did you want to tell and convey?

RED SHOT MY PORSCHE WINDOW felt like my first real album. I’ve put out music before, but this one was different — it was my arrival piece. I wanted something that introduced me to the underground in a way that was jarring, direct, and a little uncomfortable. The title comes from that feeling. It’s chaotic, it’s abrupt, it hits you the same way the opening track does. This project was made right after I locked in to learn how to produce. Most of the beats on the album are from the first fifty I ever made. I was still figuring things out — the textures & the space — but that rawness became part of the identity of the record. It’s literally me learning in real time.

When it comes to writing, I don’t sit down waiting for inspiration. I’m always writing, but I don’t force anything. I’ll live with a beat for a while, see what it’s saying, and move from there. The songs came together through that process — spending time with the music, letting it talk first, and building around that energy. So the album doesn’t have one big message. It’s more of an introduction to who I am creatively. A mix of everything that inspired me, everything I was learning, and everything I wanted to prove with my first real statement.

The project was executively produced by 1000Words. What’s your relationship and how did you two meet? Why did he choose to support you? What kind of creative direction did he give you on the project? And in general, what advice or vision does he share with you? What did he tell you about this project and your music in general?

Me and 1000Words met through the Sam Buck podcast universe — the whole Sam Buck livestream community. He guest-hosts the stream with Sam, and Sam goes live where you pay a little and get your songs played. And honestly, it’s a top-notch community. Real culture, real people, real feedback. It’s the best one I’ve ever been part of.

I started sending songs in, and 1000Words liked them, Sam liked them, the community showed love — it was all real genuine support. After a while, 1000Words reached out, we talked, and it all just clicked. I’ve met a lot of people doing this rap stuff, but he’s the most genuine person I’ve come across. That’s my brother for real. None of this would be possible without him.

When I showed him the album, he loved it. From there we put the special sauce on it — he helped shape it, helped get the features, played the music for people, and really cared about the project. And that matters, because he’s not somebody sitting behind a desk pretending to know culture. He’s in the field, he knows what’s going on, and he only puts his name on things he truly stands by. I think he saw something special in it, something worth building on. And that makes it even more meaningful — especially with the whole East Coast/West Coast connection, since I’m not over there and he is. His guidance, his ear, and all the knowledge he’s gained from working on so many great projects made his role as executive producer even more important. I hope that covers everything.

We found the beats production very beautiful: drumless and sample-based, but with consistency from the first to the last track. Who produced the tracks? Are all the productions yours or did you collaborate with other beatmakers?

I appreciate that for real. Like I said, I produced every track on the project except two. ‘World Series MM6’ with Estee Nack was produced by Dizzy Saffron, and the last track, ‘She Pronounces Porsche Funny,’ was produced by Izaiah Bleu. I’ve had a long relationship with both of them, but Izaiah I’ve known the longest — he’s been a close friend for years, a great producer and artist. Dizzy is someone I came across more recently, in the last few months, and he’s already done about four joints for me. He sent me a pack of beats, I went through it, and that one stood out immediately. I’m not usually the type to rap on drumless stuff, so it was a good pace change and a little challenge too. I’m glad we got Nack on it — he went crazy.

On the project we also find Borirock, Estee Nack and BeenOfficialLord. We imagine 1000Words connected you with them… How did these collaborations come about and what feedback did they give you on the album?

Yeah, 1000Words definitely played a big part in those collaborations. He either connected the dots directly or played the music around the right people. Everyone involved heard the album months before it came out, and the reaction was all love. They liked the sound, they liked the direction, and they were down to get on the records. A lot of the songs were already in motion before the features happened — me, 1000Words all were figuring out who would fit where. Once the features lined up, everybody delivered exactly what the tracks needed. 

Borirock, Estee Nack, BeenOfficialLord — they all went crazy. The support they showed meant a lot too. These are artists with their own lanes, their own movements, so for them to not only get on the songs but also show love to the project as a whole was dope. It made the whole thing feel like a real moment.

The album artwork immediately caught our attention. Who created it and what’s the concept behind it?

Yeah, so the artwork was done by Tony Caves — shout out Tony Caves (@tonycaves). He went crazy on it and really brought the whole situation to life. I couldn’t have asked for anyone better to handle it. The way it came together was pretty natural. All the albums I have on my Untitled are concept photos tied to whatever project I’m working on. I had this photo from The Replacements — if you’ve never seen that movie, you should, it’s amazing — and 1000 saw it and was like, ‘This is dope, we should use this.’ And it just fit perfectly with the title RED SHOT MY PORSCHE WINDOW. So we locked in, Tony did his thing, and the rest is history.

Have you released other projects before this one… Which one would you suggest to our readers that like “RSMPW”?

I’ve released other projects before this one, yeah. Honestly, you can listen to all of it — it all feels like a story leading up to RED SHOT MY PORSCHE WINDOW. But the last project I dropped before this was It Happned in the Park.

We won’t deny that we heard the influence of “early” Westside Gunn on this record—and for us that’s a positive thing: the choice of beats, the covered face, something in the tone as well. Is it coincidental or was WSG’s influence actually decisive on your style? Do you think this could somehow penalize or limit you? And what makes your music unique and your style original in your opinion?

I’m not gonna lie, I’m actually glad y’all asked this so I can get it off my chest once and for all: I do not sound like Westside Gunn. I listen, sure—I look up to the greats, the people who pushed the sound forward. But I’m not trying to imitate him, and I’m not shaping my voice to be like anybody else. This is literally my regular speaking voice. I’ve always had a higher-pitched tone; I don’t have a deep voice, I’m not modulating anything. And the people who work with me—producers on this last album, artists who vouch for me, even folks in his circle—none of them think I sound like him. Thousand doesn’t think I sound like him. The people around him that rock with me don’t think I sound like him. So at that point, I think it’s just two artists who have good taste in beats and both happen to have higher voices. That’s really where the comparison stops.

From a writing standpoint, stylistically, I don’t think we’re doing the same thing either. If anything, the more someone listens, the more they hear the separation. And I don’t feel penalized by the comparison at all—I feel like I’m doing well, things are moving, people are connecting with the music. If anything, I take it as a compliment that the quality is high enough for folks to even mention us in the same sentence. But in no way, shape, form, or fashion am I trying to imitate. Everything I’m doing is from my own influences, my own experiences, my own approach to crafting the art—how I place my easel, you know what I mean? It’s a whole different thing.

Is the choice to keep your face covered aesthetic, symbolic, or is there a more personal reason? How important is it for you to maintain a certain aura of mystery?

It’s not for show, and I’m not doing it to be mysterious. I’m not trying to be the masked guy or anything like that. The truth is, as much as I love filmmaking, I don’t like being in front of cameras. I’ve always been more comfortable in the background. If I can make the art the way I want without having to be the face of everything, that’s perfect for me. 

My music can feel luxurious at times, but that’s all personal to me — those are moments of my life, the work I put in, the things I value. It’s not about appearances or trying to build some character. It goes back to the Doom philosophy: listen to the music first. That’s what matters to me. I want the music to live on, not people focusing on what I look like or turning that into the story. The mask just helps keep the attention where it belongs.

What are your plans for the future and your next moves? Do you already have new material in the works? Is there anyone in the underground scene who inspires you with how they’re working? And what kind of path would you like to follow to carve out your space in this highly competitive environment?

Yeah, the next move is the same as the last one: stay focused and keep working. I just want to keep dropping, keep getting better, and keep climbing. That’s really the whole plan. I’ve got a lot of new material on the way — a lot. I’m excited for people to hear it, and I hope everyone enjoys what’s coming next. As far as the underground, there’s a lot happening that I like. Shout out Figgerson and the whole Bucked Up Podcast world — that community stays working every day. And of course Bodhi, BeenOfficialLord, everyone who was part of this project. There’s so many dope artists right now. People say rap is dead, but I don’t see it at all. If anything, everyone is working harder than ever.

I don’t think too much about the competition. As long as I keep being myself — as cliché as that might sound — I can’t really lose. If I stay true to my lane and keep building, everything else will line up. It’s just a matter of time.