The Power of Diverse Influences: A Conversation with Flobama

Episode Transcript
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Speaker 1 (00:01):
What is that sound, you ask?

Speaker 2 (00:11):
Welcome to the Rec Show podcast, a show dedicated
to beat makers around the world.
Kick back, relax with the host,Golden Mind.
Ladies and gentlemen, this isthe main event of the evening.

(00:46):
This is the first time I'vebeen to a show dedicated to beat

(01:09):
makers around the world.

(01:38):

(01:59):

Speaker 1 (02:27):
This is the first time I've been to a show
dedicated to beat makers aroundthe world.

(02:56):

(03:19):

(03:39):
Today, I'm going to show youguys, how I make a beat.

(04:09):
Alright, this is my sampleright here in the clip.
Let's chop it up.

(04:43):
All right, check, check, one,two piece of love.
Everybody.
Go to mine here for the Rexshow podcast.

(05:03):
Happy to be with y'all again,man, excited.
It's December, man.
We got less than you know whatI mean.
What's that?
10 days, less than 10 days, orsomething like that, by the time
this episode comes out.
So for Christmas and then NewYear.
So 2023 is about to come to aclose.
Hope, everybody's excited,chilling with the loved ones and

(05:24):
everything like that.
But then also check it out, man.
We still have the season fouropen registration happening
right now for the Rex showpodcast, man.
So if you are a beat maker,music producer or composer and
you know, I mean you just wantto, you know, be on the podcast

(05:45):
and you got something toactually say.
You got a journey, you got toget your story out.
Yo, hit the link in the linktree, put your information in
there.
Man, invites are going to goout before the end of the year.
And then the second thing is wehave our annual instrumental
album, slash beat tape of 2023episode.

(06:05):
That's going to air, I think,the 30th or the 31st, right
before the new year, man.
So if you got a beat tape orinstrumental album that you came
out with in 2023 or that you'veheard in 2023, please put that
in the list.
There's a link for that in thelink tree as well, so go ahead
and do that.
But yo, enough about that, let'sget to our guests.

(06:27):
Man, we got a fellow ATXian man.
Atxian, yeah, I says that'sAustin, texas.
I'm in it, tony.
Yo, yummy, we in it, yo.
So, man, I've been watchingthis gentleman for man, I want
to say five years now.
Man, I've been a fan of hismusic ever since he came home

(06:48):
with the HGV HGV tape.
So I've been a lot of representthe HGV bro and got your old you
already that HGV tape was crazy.
I was in Japan, like yo.
He came out with the HGV tapeso yeah, man, I was excited for
that.
So I was like yo, as soon as Istarted the podcast I was like

(07:09):
y'all got to have my guy on.
I actually got the men meet himon a couple of pressing matters
and, rather unique, actuallyconnected us man on some live
sets, man.
So, yo, man, we got a.
First of all, he's a beat maker,a hip hop beat maker, a
synthesis Like.

(07:30):
He does some crazy stuff withsynths.
He's on a 404.
He's on a Kai MPC doing thesethings.
A live drummer.
He's a live performer.
He's also done some shows puttogether by, like blue lab beats
, she ghetto DJ I keep messingup his name, but my favorite,

(07:52):
one of my favorite groups fromdaylight.
So he's performing with these,perform with the alcoholics,
performing with cloud cord.
Astro mega boom Baptist is oneof my favorite beat makers as
well, man, he's, yo, he's been,he's been for me.
I've been on a live car withthis gentleman as well.
So, yo, man, without furtherado, let's give it up for the

(08:12):
one and only flow by my flow.

Speaker 2 (08:15):
I'm a little bit.

Speaker 1 (08:18):
I'm gonna put that on there and hey, he brought out
the list.

Speaker 3 (08:22):
He brought out the.
He brought out the resume, bro.

Speaker 1 (08:25):
Listen, man, and that's not even half of the
stuff that you've done, man,like you know what I mean you
got.
You are like a instructor man.
You teaching people how tocraft beats and how to perform
live on the.
You know the SP's and you know,man, just yo, what you do is
amazing, man.
So thank you again for being onthis show.

(08:46):
Man, how you doing today, man,I'm doing well.

Speaker 3 (08:49):
I'm doing well.
It's the last few weeks of theyear and I decided to take I
normally I work pretty, prettybig hour, I wouldn't say long
hours, but like early hours.
I work in elementary schoolshere in Austin.
But yeah, I decided to takethese last few weeks of the year
to work on beats strictly andit's been laid back, it's been

(09:13):
productive and I've been havinga good time.

Speaker 1 (09:16):
Nice man, yo.
So another educator, look atthis man, I'm we on a roll right
now.
Man, another educator, you, um,philip Drummond, filthy, filthy
, drumming.
We got DJ Basta, we got yo, man.
I think that's.
That's so crazy.
I think that's the directionthat this podcast is kind of

(09:37):
going, like people that isactually educating.
But then, oh man, we're goingto talk about that in a little
bit.

Speaker 3 (09:43):
But yeah, but man Okay.

Speaker 1 (09:47):
So I know you're looking forward to you know the
Christmas break coming up.

Speaker 3 (09:52):
Yeah, educator, you know what I mean Yep, yeah, man.

Speaker 1 (09:56):
So listen, I got to ask you this because you know I
met you a couple of times.
We never like really got indepth and like your story and
stuff like that.
So this is my time to get guywith you and ask you these
questions that I've beenbuilding up over the last, over
the last year.
So, all right, How'd you comeup with the name?

Speaker 3 (10:15):
Flowbama.
Yeah, All right.
So, um, I had a roommate backin college.
Uh, I went to.
I went to UT for film schoolway back in uh, 2010 is when I
started at UT and I was alreadymaking beats.
At that point, Um, I was goingby my previous name, which was

(10:37):
the young master Wakizashi.
At the time, I actually know Ihad multiple, I had multiple
names.
Young master Wakizashi was a,was a producer, slash rapper
alias that I used with my group,hermit kingdom, which we can
like go into that in a second ifyou want to.
But, um, at that time I wasactually going as DJ Jules that
was my original producer nameand I was.

(10:59):
I wasn't quite making hip hopbeats yet.
I wasn't trying to get moreinto like, uh, dance, like
underground dancey, like bassmusic, bass, heavy dubstep
inspired type of stuff.
Um, anyway, I had this roommate.
His name was Thad.
He was this tall, like sevenfoot tall, white dude.
Uh, classic, classic, uh,fraternity jock bro, but he was

(11:23):
like a super at the same time.
He was like super chill andstoner vibes, but he was one of
the good fraternity dudes, ifyou know what I mean.
So he was my roommate at thetime and whenever I was making
beats and I had a banger goingon, he would walk by my roommate
just going Barak flow Obama andhe called me that and I just uh
.
I thought that nickname was sofunny that eventually, when I

(11:46):
found years after that point,when I found found time that it
was time to give myself aproducer name that reflected
myself a little bit more, I justthought back on what the
funniest twists of my name havebeen.
Um, if you didn't know, my realname is Florian.
So like, uh, I get a lot ofnicknames off of like flow, flow

(12:07):
, Beasy, flow, Bizzle, uh, flowRida, whatever people call me
different things based on flow,but flow Obama was always the
one that made me laugh the most.
So I ended up just picking thatas my producer name.
And, uh, ever since I did that,I started uh, introducing my
work as flow Obama, and peoplejust always have a really great
reaction to the name.

(12:28):
So I think it was a good choice.
And uh, yeah, that's how itcame about, Heck, yeah man,
that's a good choice, like that.

Speaker 1 (12:35):
Yo, that name was what got me to actually check
out your music.
I was just scrolling throughband camp and I'm like flow
Obama, who the?

Speaker 3 (12:42):
heck is that?
That's what I'm saying.
It's all branding brother,branding man.

Speaker 1 (12:49):
So I was like yo let me check out this guy man that
name is crazy man.
So now we got the story, theinternet's, now you get the
story about how he came up withlow bomber man.

Speaker 3 (13:01):
Shout out, shout out, my former roommate, sad bro.
I have not seen him since then.
It's been literally like over adecade.
But if that ever hears this,that's that's who.
Uh, that's who came up with themoniker, bro, that's who it's
been Shout out to dad.

Speaker 1 (13:14):
Yo putting you on your business.

Speaker 3 (13:18):
Yes, sir.

Speaker 1 (13:19):
And then, and then you also, man, I'm okay, I'm,
I'm just go where theconversation is going.
Man, so you also, um, hosted asomething called beats and wraps
, where you know real littlequick flips of uh MCs rapping
while you're doing live fingerdrumming, um, with the likes of,

(13:41):
like Cyclops, right?
So if you, if you go to theinternet, go to his YouTube and
check out these clips, man,these guys were spitting man.
But MDK, who I can't rememberthe the acting and what that
stands for, but um, Minds of adifferent kind.
Minds of a different kind.
Man Like how did you, how didyou come up with that concept?
To, like you know, let me flyfinger drum and then have them

(14:06):
spit their wraps over yourfinger drumming man.

Speaker 3 (14:08):
That's crazy.
Yeah, I was making strictlyfinger drumming videos, um,
before that point, even um,which this is like.
Before, I was even on Instagram.
This is a long long time ago atthis point but I started
putting up the weekly fingerdrumming videos that I it's the
it's essentially the sameconcept that I kind of grew big

(14:29):
off of on Instagram.
I was doing this on Facebookfor a while before that and, uh,
yeah, around the same time thatI was doing this, I was getting
into the hip hop rap scene, orthe Austin rap scene, mainly
through going to um, goingthrough Austin mic exchange,
which was this uh, absolutelyamazing open mic night at the

(14:51):
time, back when I was still incollege.
Uh, rest in peace.
Has been gone for many, manyyears now.
But, yeah, there was thisweekly Tuesday night.
That was a Austin sort of openmic night for rappers and it was
a huge community.
Rappers came out, rappers cameout, a lot of uh, a lot of
musical collaborations and longfriendships happened from there.
But, anyways, I'd be going tothis event and be meeting

(15:12):
rappers all the time and makingnew friends in the music scene
and the hip hop scene all thetime.
So I was already making theselive beats.
So I was thinking, uh, whydon't I bring some of these
homies and have them freestyleover my, over my finger drumming
, and just, uh, take it a stepup from there, you know,
showcase it?
Uh, potentially kind of figureout who I might want to collab

(15:36):
with and uh, yeah, that's,that's how that came about.

Speaker 1 (15:40):
That's what it's about.
Man Like listen, that is aprime example of what the beat
community can do.
Man Like just connectingnetworking.
And then you find out hey, I'verapped, you know, I like your
beats.
Like, let's connect.
And then you just it's allexperimentation man Like that's
right, man, that's incredible.

(16:01):
Yo, you had some crazy.
This is five, six years ago.
Internet, by the way, man, ify'all go to his YouTube's.
But, man, you had, you had likefreestyles from like protector
Um, I think that's how you sayit's protector.

Speaker 3 (16:14):
Yeah, protector yeah.

Speaker 1 (16:17):
Protector.

Speaker 3 (16:18):
That guy.
That guy, protector, was one ofthe creators of Austin Mike
exchange at event that I justmentioned.
Um, along with the former DJ ofhip hop, hooray on 91.7, the
former DJ of that show, missManners.
And um, uh, third dude namedAaron, who is still involved

(16:39):
with putting on electronic andbeat shows here in Austin.
But uh, yeah, yeah.
So that was Protector, aka Ptech, and I also had the minds
of a different kind on there.
We have black child, we had Chiclops.
Uh, I don't remember if I didone with uh with breeze.
I believe I did one with a NickCruz as well, and then a couple

(17:02):
other homies I did them withman, man, I would yo, if I, if
you bring that series back, man,that's going to be.

Speaker 1 (17:10):
It's so many different people that's rapping
right now.
Like, if you ever connect withum, I'll say rather unique, but
rather unique.
But then also you got, uh, ah,who's my guy?
Man, matt.
Um, oh, how am I forgetting hisname right now?
That's crazy.
Um, oh, man, it's going to cometo me anyway.

(17:35):
But okay, so let's, let's,let's go back in history a
little bit.
Um, when you were growing upcause everybody's got their, you
know their, their storysomebody in the house was
playing music.
Or when y'all were driving,somebody was playing music.
Who were the people that wereplaying music and what type of

(17:56):
music that you grew up on.
That was like influencing youto this day.

Speaker 3 (18:02):
Man.
So this is kind of acomplicated question, cause I
feel like a lot of people, theykind of grow up and are highly
influenced by their parents'music and what they play and
whatnot, which in a way I kindof was, but almost in like the
opposite.
So let me explain Uh, my, bothof my parents are, um, both of

(18:22):
my parents are immigrants.
First of all, my mom is fromGermany, my dad is from the
Philippines.
Um, neither of them have a very, very much of a background with
American culture.
So, unlike, uh, I don't know,unlike people who maybe grew up
with an American uh background,we didn't listen to a lot of
like American music growing up.
Um, my parents were very, verymuch into classical music

(18:46):
growing up.
Every morning, especially onSundays, just like the
soundtracks of breakfast waslike classical piano or like um,
or like religious music, likeGregorian chanting or like
choirs and stuff which I I never, ever got into.
To this to this day, I stillcannot listen to that type of

(19:09):
music.
Um, so I guess I was influencedby that in the opposite
direction, um, I also, uh, tookpiano lessons growing up which,
on a similar side to that coin,I was extremely resistant to
because piano lessons for me waslike, oh, I already worked for

(19:32):
seven hours in school, now I gotto come home and spend 30
minutes of my precious free timepracticing piano, these dusty
old tunes that I don't even like.
Like, I was so resistant tolearning piano, which, looking
back on it now, um, my keyboardskills and my finger drumming
skills, and all of that is adirect result of the piano

(19:52):
lessons that I was forced totake, so that was something
positive that came out for me.
Not appreciating the music in mychildhood, uh, but really, when
I started to discover music formyself was, uh, before I was
even into hip hop.
I was a big time metalhead bro.
Oh my God, I loved heavy metal,like industrial stuff, like the

(20:16):
, really like I like the reallysinful stuff, bro, the, the
stuff that, uh, parents wereafraid of, like Marilyn Manson,
rob Zombie, that type of stuff.
Um, those were also some of thefirst concerts that I ever went
to.
Literally my first live showthat I ever attended was, uh, I

(20:36):
think like 2012 or somethinglike that I was in high school
or not.
2012, uh, 2000, I don't know,maybe like 2005 or six or
something like that.
I think I was a sophomore inhigh school, my first ever live
concert I went to was Rob Zombiebro in a big arena.
That was the moment that I fellin love with live music and I

(20:57):
knew from then that I wanted tobe like a performer.
So that was really the momentthat I was like yo.
Music is in my blood and goingout and seeing it live just does
something different to me thatListening to it alone I already
love it, but going out andseeing it live and feeling the
bass and having it rattle my ribcage At these, these heavy

(21:18):
metal shows, that's what got meso into music in the first place
.
So I wanted to be like a.
I wanted to.
I was in a punk and metal for awhile.
Towards the end of high schoolIs when I first really started
discovering hip-hop musicthrough some friends of mine,
because I remember at that time,mid-2000s, lil Wayne was like

(21:43):
everywhere it was all about LilWayne and Like 50 Cent.
I think it was like right, alittle bit, a little bit around
a little bit after, like thecrunk era.
So we had like.
Lil John and Lil Wayne like getlow was getting played at all
the school dances.
None of this stuff I personallyrelated to Um, so I was.

(22:05):
I was pretty resistant tohip-hop growing up, uh, until
some homies of mine, you know,as as you do you meet some
homies that just have like thatare music nerds and they just
have like a gigantic hard drivefull of just albums on albums,
on albums that they'll just giveto you.
That happened to me a few timesin my in my early adolescence,

(22:27):
which Formulated a lot of mymusic taste as an adult.
One of those moments was myhomie Jacob had a hard drive
that had a bunch of like tribecalled quest and blackalicious
and ashiru and blue black of theunspoken herd just a bunch of

(22:47):
Um, I believe tallop, quali andhigh tech was on there too.
A bunch of the like east coast,new york, laid back jazz,
inspired boom bap.
That was my first exposure tothat type of style.
This homie in high school Justgave me a hard drive full of
that type of stuff and IEspecially tribe called quest.
I immediately Love that type ofstuff.

(23:08):
I love the beats, I love thelaid back, the jazz.
I was already an avid listenerof jazz at that point.
Uh, like I was saying, I'vebeen taking piano lessons.
Towards the end of my pianolesson taken career I finally
got a teacher who was actuallyteaching me how to play jazz,
like for real.
So I kind of enjoyed pianobecause of jazz.
I'm still a huge jazz lover tothis day but, um, yeah, that was

(23:32):
my true introduction to hip-hopmusic, or at least my, my first
moment of like really fallingin love with it Was listening to
, like, people's instant,people's instinctive travels in
rhythm.
The low end theory, um, goldenarrow, blackalicious, uh,
jurassic five, power in numbers,just those like classic boom,

(23:54):
bap, east coast joints, and uh,yeah, from that point on I was
already like tinkering aroundwith making electronic music.
I'd just gotten ableton versionsix around the same time as
when I discovered j dilla and itwas just like you know, it was
a wrap from there, bro, I foundout fly low, I found about j

(24:15):
dilla and then it was cinched,bro, I was a hip-hop head from
then.

Speaker 1 (24:20):
Wow, wow, so much, so much influences.
But it all started Um.
Was it?
Was it your mom, or was it your, your dad?
That was like forcing you totake the piano lessons.

Speaker 3 (24:34):
Definitely.
Uh, my german mom was, was moreof the.
You know, in some families it'sthe, it's the dad that's the
tough one and the mom that'slike that you can come, come,
come to and like, ask for stuffsecretly behind the other way
around.
Uh, yeah, my mom was the toughone in the family, so she was
definitely the driving forcebehind piano lessons and, uh,

(24:55):
making us go to the symphonylike a few times which, looking
back on it now, it sounds likeit sounds like super privileged
to say like, oh, you have to goto the dilla symphony.
But, bro, that was, it was.
It was just so boring to me, um, but um, yeah, the.
The opposite end of thatspectrum was that I, sir, I was
seeking out for music.

(25:16):
That was so, not Not that thatI guess.

Speaker 2 (25:22):
Um, I came to metal.

Speaker 3 (25:22):
I came to heavy metal and punk first, because that
was the, that was the hardcore,that was the loud stuff, that
was the stuff that uh scaresparents.
And then, uh, I discoveredhip-hop as well and uh just ran
with it, you know.

Speaker 1 (25:36):
Wow wow so, uh, I don't.
So I don't know your mom anddad's names, but Shout out to
your mom and dad, yeah.
Like put you on man, forcing you, forcing that, but like, also
allowing you to like, experimentand search out what you like,
and then that is influencingwhat you're creating today,

(25:58):
which is some of the mostamazing, um, you know not, it's
not complex, but it's like To tomy ears.
I'm like yo, how's he doingthis?
Like it's, that's that.
That's the type of music I hearwhen I'm uh listening to your
music, man.
So shout out to them, man.
Thank you, man.

Speaker 3 (26:17):
I will say, I will say shout out.
Reuben and Maria, those aretheir names.
Um, and they have.
They have always, alwayssupported my music, never, never
been against anything I've donewith, uh, as far as music and
in life.
So they, they've always beensupportive.

Speaker 1 (26:32):
Yeah, shout out to Reuben and Maria man, big shout
out to y'all.
I'ma get the cut of hand clapsfor that part too.
Yo, but um man, okay.
So we got you growing up goingthrough that um, figuring out
that you know classical piano Umdidn't really want to take it,
but it's influenced you to thisday Hard rock, heavy metal, but

(26:55):
then also discovering um somestaples, some staples and hip
hop man.

Speaker 3 (27:02):
Absolutely.
I forgot to mention Wu Tang.
I found out about Wu Tangaround this exact same time.

Speaker 1 (27:07):
Wu Tang's for the children, yeah exactly.

Speaker 3 (27:10):
Wu Tang to me, was like the heavy metal of hip hop
there.
It was so, so hardcore.
I'd never heard anything thatlike intense.

Speaker 1 (27:19):
Yo, I think that's the reason why why the world
loves Wu Tang man, just becauseit was so abrasive.
But then it was still like thebeats were dope, but then the
rhymes complete like oh man,like yeah, man, aggressive, and
the best in the best way.
Yeah, man, yo, okay, so, man.

(27:42):
So we got that going on.
When did you know that you like?
What was that moment for youthat you were like yo, I mean, I
want to create some music, Iwant to create beats.
Was it at that concert that youwent to, or was it like later
where you were like you knowwhat?
I want to make beats.

(28:02):
No matter how it sounds, I'mgonna just make beats.
This is what I want to do withmy life.

Speaker 3 (28:08):
Uh, man, I I don't know if I can pinpoint a
specific moment, maybe the firsttime that that rob zombie
concert was the first time I didnot.
I didn't necessarily know, likeyo, I want to make music, but I
knew at that moment that yo, Ilove live music and, um, yeah, I

(28:30):
guess it was just over, uh,over a slow period of time in my
high school years.
I was listening to a lot ofelectronic music at the time too
, um, especially like theprodigy and the crystal method,
which both of those guys arevery heavily hip-hop, hip-hop
influenced, especially if youlisten to their drums.
They're very like breakbeatheavy.

(28:50):
Those were the type of groupsthat made me want to get Ableton
live, first of all because Iwas already like a, I was in, I
was kind of a computer nerd atthe time, more on the more on
the video game, like computergame side of things.
But I was listening to thismusic that was also made just on
computers and electronicallyand that, yeah, that that you

(29:13):
know gives you the freedom to belike, oh, I don't need a band
to be able to do this, I don'tneed to like be able to get it,
get together with three otherpeople once a week and everybody
have their own instruments andhave our own practice base and
da, da, da, da da, this musicthat I love, I just need to get
like a software program and Ican start making it.
So, yeah, listening to like Apextwin crystal method prodigy, uh

(29:40):
, in my teenage years, that Iwould say was my um original
impetus to get into wanting toget my first synthesizer,
wanting to get my first versionof ableton, which is ableton 6,
and um, yeah, so, like I, like Imentioned, when I discovered

(30:00):
hip-hop music for myself, I wasalready, I was already making
music.
So at that point, every time Isort of discovered a new type of
music that, um, that inspiredme.
It's from the lens of, like yo,I can like make this for myself
.
So, um, yeah, I guess, longstory short, you could say it

(30:21):
was a process, uh, little stepsat a time, little influences at
a time.
There wasn't like a specificpoint.

Speaker 1 (30:27):
Yeah, that's and that's, that's normal man,
because you know we all justsearching to figure, trying to
figure it out, and once youfigure it out you just like yo.
I'm gonna just start, becauseif some people get stuck in
research mode but you didn't, soyou just was like, you know I
could make this If you get somesoftware ableton 6, I think, oh,

(30:49):
don't get me wrong.

Speaker 3 (30:50):
It was a lot of research mode along the way,
don't get me.

Speaker 1 (30:53):
Yeah, so, but some people can be paralyzed.
Like what do you attribute younot being paralyzed?
Uh, by the research?

Speaker 3 (31:02):
mode.
Uh, this for me, was definitelysomething that just came with
time, because when, when I was akid, I, even after I did, like
you know, getting the softwareis like barely even step one.
Learning it is barely even stepone.
You still have to get in thereand actually be creative.
So, um, that was honestly justhaving the, having the

(31:27):
persistence and consistency tocreate um on Even even a daily
basis.
Sometimes it can be difficultfor me to this day to be
consistent Like I have.
I have ebbs and flows with itand whatnot.
But, um, yeah, it's, it's justsomething that came, it's just
something that came over timeand it, uh, it came kind of it

(31:50):
at some points.
It came kind of slowly.
There were some times where Iwasn't inspired for a while.
Or I did have that either.
Um, overwhelming options,paralysis, as some people do
when they're starting withableton.
Uh, because there's just somany different ways to approach
it.
Um, I had the uh, the uh.
I had that early beginnerparalysis of like, yo, I can't

(32:13):
make anything close to what Iwant to.
So what's the point?
Um, it was just a matter oflike, going through the trenches
and Making, making the trashbeats for years and years and
years, um, what I will say?
I think one of the first thingsthat got me really serious
about, um, putting myself outthere as a musician Was when I

(32:37):
started meeting a lot of otherlike-minded people.
So this is when I moved in 2010, when I moved to Austin to go
to UT and, like I mentioned,it's when I started going to
this awesome mic exchange eventand meeting artists all the time
.
It's when I met, uh, two of mybest friends to this day, some
of my best collaborators thatI've had in my life, my homies,

(32:59):
uh, jay and Devin from hermitkingdom.
In my early days With thoseboys, when we were working as a
trio, it was just endlesscreativity, because at that
point you're not just makingmusic for yourself, you're like
making music for your friends,with your friends.
It's more about hanging outthan like doing the work you
know.
It's about having fun and likegetting a little messed up and

(33:21):
going to parties and just likebeing being a kid and having
something to bring to the tableand like show the homies like yo
check this out, we just madethis crazy shit Y'all about to
listen to it.
Um, so, yeah, I would say thefur to Another long story short
to what I just said.
The first part of me sort ofgetting over the hump, of Just

(33:44):
making stuff being consistent,was just a matter of time, a
matter of going through it,going through the bad beats,
going through the self doubt and, uh, just, I wouldn't say
making it out the other side,because that's something that
that's something that we dealwith all the time.
I don't think that ever goesaway, but, um, just learning,

(34:05):
learning to, learning to managethat.
And then the second part ofthat was finding the community
that gave me the uh, gave me,gave me the validation to
whenever I Played a beat or madea beat that a homie immediately
wanted to rap to.
That just gives you like thevalidation and the uh, the

(34:26):
dopamine release, almost to wantto do it again.

Speaker 1 (34:29):
Yeah, that's, that's major man finding your community
man, um Yo, ever since I movedwe I moved from Japan to Texas
and then linked up with um flipa beat club austin and then,
like yo, it's so many creativesand then doing shows in austin.

(34:51):
Oh, my gosh man, like y'all,boys Yo, boys and girls Yo cuz
yes, everything in betweeneverything in between, man,
there's so many amazingcreatives out here.
Man like Yo, austin.
Man like I gotta shout outaustin, austin, san Antonio,

(35:11):
houston dallas, texas.
Man yo, oh man, we've gotsomething to say.
Man.

Speaker 3 (35:18):
Hey, shout out, shout out all the texas producers bro
real man.

Speaker 1 (35:22):
So I am man Okay, that's a good story man, because
I like when people can actuallylike articulate.
Um, you know, not just likemaking music, but that part of
the, the beginnings, you know, Imean that, the genesis of you
creating, wanting to create themusic, but then getting over

(35:43):
some hurdles in order to getwhere you are, because nobody,
just, you know, gets where theyare right now, to where you
making slappers.
You know, I mean you gotta goyeah, yeah, exactly.
Yeah, man.
So, um, when, when did yourcasio with, like the first casio
that you bought, like when didthat come into play?
You know?

Speaker 3 (36:05):
Man.
So I started, I bought my firstever.
I don't remember if it was theSK1 or the VL1, but I bought my
first one way back before I wasbarely even making beats in high
school, bro, I think I was like15 or 16 years old.

(36:25):
One of the only musical thingsthat I've probably the longest
musical object that I've ownedjust throughout my entire life
is either the Casio VL1 or theCasio SK1.
I can't remember which one camefirst but yeah, like I had
mentioned, I was into electronicmusic in high school and I

(36:46):
wanted to get into my firstsynthesizers and I was also a
little bit of a computer nerdand, for whatever reason, these
Casio keyboards just likeappealed to me.
There was this music videocalled Da Da Da, this German
band I can't remember like theartist off the top of my head,
but it was this famous musicvideo that was kind of like
viral before viral, and that waswhen the guy was playing the

(37:08):
beat off of the Casio VL1.
And he had this tinysynthesizer in his in the music
video that he just pulled out ofhis pocket and something just
appealed to me so much that Ijust got on eBay and tried to
find.
When I ended up buying one forsomething like 60 bucks or
something like that and I don'tknow.
I was just in love with justlike how it looked and how dinky

(37:32):
and how cheesy it was and howlike unique it was, as just an
object to have.
So at that point I was like,all right, I'm collecting these
mugs now.
So at that point, whichever onewas first, I ended up buying the
second one and then they justkind of sat there for many, many
, many, many years.
I played with them a little bit, as in my early days of making

(37:54):
beats, but they were more oflike a, you know, like a curio,
just more like a fun littlething up to have on the side.
And then years later, yearsafter I got them I don't even I
can't even begin to count howmany years it was was when I,
just off the cuff, decided tomake some videos with them on
Instagram.

(38:15):
One of them blew up and thatkind of started a whole nother
journey.

Speaker 1 (38:21):
Yeah, Yo, man, like what you're doing with IG, man,
which are your clips and reelsand you going through like the
process, man Like yo, that's oneof the things that I look at
when I'm like looking forinspiration.
It's you, it's J-FILT, it's lowkey, it's oh, who else is it?

(38:46):
It's a-.

Speaker 3 (38:47):
Oh, low key is fire bro.

Speaker 1 (38:49):
Yeah, man, it's so many different creatives, man,
that are like analog.
It's analog creatives too, man,and it's two more.
It's a female.
All she does is create withanalog, oh man, oh no, I'll

(39:09):
figure it out, but anyway, allright, for sure, for sure.
Yeah, but yeah, man.
So the Casio, yo shut up theCasio man, cause a lot of people
had got their start with Casioproducts, man.

Speaker 3 (39:22):
I don't know if they did that.

Speaker 1 (39:23):
No doubt about that To make it to where it was.
Just you know, build quality,make it look appealing to kids.
But then, even as adults, we'restill going back to those
Casios and they still arecreating some dope music, like
what you do with your, with yourID, ig where did that come from
?
To where you were, like yo, letme just use my IG, create some

(39:46):
beats, use the you know what Imean Use my keyboards, use the
instruments around me and thenboom, an explosion happened for
Obama.
Yeah.

Speaker 3 (39:56):
Yeah, well, as it is, the thing with social media for
me is it's always a matter oftrial and error to see what
works, see what doesn't.
And at the early point in mysocial media career, this was
when I kind of made the decisionof like, all right, I'm going
to go hard on Instagram becausethis is how I'm going to build

(40:19):
an audience, and I just kind oflike stuck with that idea early.
I had already been making thosefinger drumming videos and the
rapper videos that we touched onearlier, and I already decided
to bring those weekly fingerdrumming joints to Instagram and
I wanted to add another thingto it, so I decided to do synth

(40:41):
Sundays.
Now, the reasoning behind thesynth Sundays is I was doing a
little bit of research onmarketing at the time, which is
a skill that I think allproducers in the current world
that are trying to make somesort of career needs to at least
have some knowledge of asmarketing.
But anyway, I was doing thislike online little basic

(41:05):
marketing course and they weretalking about how, if you're
able to relate your product oryour thing or whatever to
something that your audiencealready has a mental connection
to, then that's going to stickin their mind so much stronger.
So the example in thismarketing course was I don't

(41:28):
know if it was Taco Bell, butwhichever Taco Company came up
with Taco Tuesdays, they weretalking about how that's one of
the greatest marketing conceptsbecause it links the product
Tacos with a day of the week,tuesday, which is something just
the word Tuesday.
You think about that at leastonce a week, because it's
Tuesday once a week.
You know what I mean.
So I had that.

(41:50):
I had the genius idea of likeall right, so my finger drumming
videos are going to be onWednesdays, that's hump days.
I'm going to change that tobump days, hashtag bump day.
And then I already have thiscollection of little keyboards
that people don't see a lot.
Let me showcase those and callthat synth Sundays hashtag
marketing genius.

(42:10):
So I just came up with thatformula and I started just like
doing it just for fun, just tosee what would happen.
And yeah, it was one of mysynth Sundays videos that really
blew up first and got likesomething like a few thousand
likes back when my followercount was like I don't know,

(42:32):
under 2000 or something, whichabsolutely blew my mind.
And yeah, after that I was likeall right, this works.
Big check.
Let's just go ahead and do thisevery Sunday for the
foreseeable future from now on.
And yeah, I did that.
I stuck with it for a few yearsand I built, I built a audience
off it.

Speaker 1 (42:52):
Man yo, that is incredible, yeah, like I've seen
.
I've seen you like man.
Okay, let me take.
Let me take a step back,because you said something very,
very critical.
You said, uh, marketing, right,and then you said your social

(43:14):
social media career right, Ididn't think about social media
being a career, but maybe that'show we need to think about it.
Is not just posting regularstuff like especially if you
trying to be, you know, anartist or a musician or anything
like that, and you're trying toget your uh, your intellectual

(43:36):
property out to the masses.
Yes, that's how we need tothink about it.
Wow, I never thought about that, yeah.

Speaker 3 (43:44):
Well, when it comes to social media, I would say I
don't consider social media tobe my career.
It's part of my music career,but it's something it's more of
like, uh, a commitment.
It's like uh, cause, when itthese days, when it comes to uh
making a career out of music, um, on one end, the barrier to

(44:08):
entry is super low because it'sfree to download Instagram, it's
free to download the Tik Tok,but, um, the barrier to getting
noticed now is really reallyhigh.
So, um, another another sayingthat I go by is um to to be in
the 1% of uh, to be in the 1% ofsuccess, you have to be willing

(44:32):
to do what 99% of people arenot willing to do.
And one thing that I that I'velearned is one of those things
is to be consistent at puttingsomething out.
And when it comes to socialmedia, it's like that's
something that, um, I pridemyself that I've been able to
more or less do for the pastseveral years is to consistently

(44:52):
have my presence out there,because it is, it is difficult
and it's something that I had tomake a conscious commitment, a
time and energy commitment to do, but uh, pretty much all of my
big opportunities for music havecome from that.
So, um it was.
It was definitely worthwhile,even though it's it's uh, it's
difficult at times and it stillis difficult.
But, like I said, it'scommitment, you know.

Speaker 1 (45:15):
Commitment consistency.
Man, Yo you dropping crazyjewels right now my guy.
Oh, thank you Thank you Listen,oh my gosh.
Okay, consistency commitment,yo get, oh man.
Okay, I'm gonna ask you thisyeah, what did you read?

(45:37):
What did you like, besides themarketing course that you took,
um, what, what books, what audiobooks, what videos, what, like,
what has helped you, uh, themost get, get, uh, get the most
out of where you are right now,like, what has what?
Which one of those videos,books, um, uh, documentaries,

(46:00):
anything like that what hashelped you get to this point?

Speaker 3 (46:03):
Yeah, yeah.
So when it came to likekickstarting me, getting into
this mindset of like, all right,I'm committing myself to
creating on social media, it wasthe book crushing it by Gary V
bro, reading that book likeflipped a switch in my mind way
back in like 2016, 2017 orsomething.

(46:24):
That was when I started writingdown goals.
That was when I started likecoming up with these concepts of
like, all right, I need to, uh,what do I need to study to
improve myself?
Let me uh get on this.
Let me get on this marketing,uh course online.
Um, what are some concretegoals?
What are some things that I can?

(46:45):
How can I brand myself?
How can I extend how I, how canI extend my authentic
personality into my brandingwithout it being forced?
How can I dada, dada, dada, um.
Crushing it by Gary V was kindof like the start of that and
then, um, from then on, a lot ofit was a matter of just like
observing what other successfulpeople in um in production were

(47:10):
doing online.
At the time, um big shout outto stolen drums.
By the way, I definitely copieda lot from his, from his
formula of his early success onsuccess, uh, on social media.
Um, so, yeah, gary V is a bigone.
I'm still a huge fan of Gary V.
Um, I just really enjoyed his,his content and just like makes

(47:30):
me feel good and it makes mefeel motivated, so shout out to
him and then, um, yeah, otherthan that, it's just like
observing other people who have,um, who I would say are in a
point in their career that Ihope to achieve myself at some
point.
So people like stolen drums,people like, uh, little bad
snacks, who was also like areally great, uh, producer and

(47:52):
educator on on YouTube andsocial media and and so on, um,
yeah, so Gary V, and then otherproducers, yeah, yeah, yeah,
gary V man.

Speaker 1 (48:06):
I just remember like the same thing, like crushing it
.
I haven't read that book, but Iused to watch all of his videos
when he'd come out because itwas just.
It was so simple how he put it.
It was just like yo just stayconsistent, be hard.
Don't give a fuck about whatnobody else is talking about.

Speaker 3 (48:24):
Yeah.

Speaker 1 (48:25):
Stay committed to your vision, man, and then build
a winning team.
Like that's the things I tookaway from Gary V and I still use
to this day is the team stayconsistent, fuck everything else
.
You gonna have to sacrifice,like he always talked about.
You know he didn't have noweekends, no weekends, you know
what I mean.
Like the only weekends was towatch the Jets.

(48:46):
Yeah, you know saying like Ijust remember everything he was
talking about.
Man, shout out to Stolen Drums.
Man, sidechain Society.
Man, they doing some amazingthings over at Sidechain Society
.
And then, and Gary V man, yoand Speaker to that, when you,

(49:07):
in 2015, I think you came outwith this album in 2015, which
is Flobama volume one.

Speaker 3 (49:16):
Man which is an amazing joint Volume one.

Speaker 1 (49:20):
Yeah, man, like I had to take it back.
Yo, that's it.
That's an amazing album as well, man.
So, if internet's, go toFlobama's band camp, man, I'm
going to link everything in thedescription of the show.
So go too far, man, but listen.
If you haven't listened toanything that for Obama has put

(49:40):
out, do yourself a favor, go tohis band camp, go to Apple Music
, go to Spotify, follow him, man.
Like.
Go to his IG.
Yo, man, he's doing someamazing things.
But let's talk about volume one.
Flobama volume one.
Man, like, what was the whatwas?
Where did that come from?
Like, what made you put outFlobama volume one?

Speaker 3 (50:04):
So that was really a beat tape.
Honestly, I wasn't thinking ofit as like an album or a project
, but that was that was thefirst time where I was like all
right, I got, I got a grip ofbeats, let me put them out and
let me see if I can shop themout to some rappers around town,
which it's been so long bro, Idon't even.
I'm not even sure if any ofthose tracks off of volume one

(50:25):
ended up having people rap onthem.
I'd have to like go back andlisten, listen to the beats and
like try to remind myself.
But yeah, it was essentiallyjust I had just recently come up
with the name Flobama.
I was kind of finallyestablishing my identity as like
a solo hip hop producer,because I was already working

(50:46):
with her, my kingdom at the time, working as young master
Wakizashi, which was like aslightly different vibe from
Flobama, giving a little bitless of a fuck, a little bit
more of the like, the, the onthe Wu Tang clan side of things,
but like a slightly unhingedunderground, like weirdo version
of it.
But Flobama was like my, like,all right, this is me staking my

(51:08):
claim.
This is, this is me like sortof establishing what I am
starting to sound like as aproducer, and volume one was
just like essentially like myfirst beat tape.
You know it was the first batchof beats.
I wasn't necessarily trying toI don't know if I was trying to
make like an album per say I wasjust trying to have like a
collection of like all right,these are some joints that I'm

(51:29):
proud of that like maybe peoplewant to wrap on.

Speaker 1 (51:33):
Nice, and then you transition and go to strong
style slaps.
Yeah, so that album.
Man, I was like yo.
So that that album, those twofirst two albums and then HB
beats the beat tapes, those werethe ones I was like yo.
I got to get his discography,man, so I got your whole

(51:54):
discography.

Speaker 3 (51:54):
Well, hey, thank you brother.

Speaker 1 (51:56):
As of like, when you came out with HB beats
everything you had I was like yo, let me get everything this guy
got, because I got to have itin my music collection, because
you know, when I get older mygrandkids gonna be like yo, what
was you listening to back then?
I'm like yo, let me go to myband camp.
Yeah, I mean, this is what Iwas listening to.
Yo, I mean, but yo strong styleslaps man.

(52:20):
Where did that name come from?
And then, what was that album?

Speaker 3 (52:23):
about.
So the album strong style slaps.
That was definitely more oflike an effort to have like some
sort of like a consistency inthe sound and like the concept
of it.
So I at this point in time inmy life I was a huge fan of
wrestling and I particularlyenjoyed watching Japanese

(52:46):
wrestling at the time.
And strong style is a term inJapanese wrestling that refers
to wrestlers that actually smackeach other like real hard, like
an American wrestling WWE, thatAEW type of thing.
There's a certain sect of,there's a certain there's a

(53:09):
certain approach on some, somepeople that I guess I don't know
how it is anymore.
But in general, professionalismand wrestling is to be able to
do a match and like not hurt theother person at all but make it
look real.
And Japanese strong stylewrestling is like a old school
hardcore thing of like yeah,we're actually smacking the shit
out of each other.

(53:29):
So that's where the title camefrom.
Also, the album cover is kindof like me doing a tracing of
one of the most famous Japanesestrong style wrestlers, kent
Akobashi, smacking the shit outof another wrestler in the in
the corner of the ring.
So that album in particular washighly influenced by just the

(53:52):
sounds of Japan in general.
I actually grew up, growing up,I spent a couple years in Japan
with my family when I was areally young kid, from, like I
want to say, kindergarten tofirst grade.
I was in Japan because my dadworked there for a couple of
years.
Um, so I had some childhoodmemory with Japan.

(54:14):
Like I have that in my likenostalgia banks of my brain.
So the strong style slaps albumwas like partly a callback to
that and also, just in general,it was like, uh, a tribute to
Japanese jazz, japanesemusicians and then, of course,
uh, japanese wrestling.

Speaker 1 (54:30):
Nice man, listen, you know when I was listening to
that again, because I was inJapan too, so I don't know what
part of Japan you were in, um,but we were in the Tokyo section
, um we were in uh.

Speaker 3 (54:43):
We lived in Kyoto from 1998 to 2000.

Speaker 1 (54:45):
Kyoto.
Yeah, yeah, we were in Fusha uh, fusha Shishis, so it's like a
prefecture of uh of Tokyo, man.
So it was, they call it thecountry of um of Tokyo.

Speaker 2 (54:58):
But yeah, it was far a lot.

Speaker 1 (54:59):
It was like maybe three hours away from uh Shibuya
Shinjuku, you know all thattype of stuff.

Speaker 3 (55:04):
But very nice.

Speaker 1 (55:06):
Man.
So I was like yo, man, this guy, he's definitely been to Japan
just from the uh, the albumcover as well.
Um, cause, I was looking atsome of the wrestling too.
I was like yo, they reallygoing hard with this, um, the
wrestling too.
And then I come up on HGB beatsand I was like yo, I've been to

(55:27):
Texas before.
I know anybody that said Texanloves HGB.
Oh yeah, and then you go withpeople's reactions to you know
what I mean, the clips frompeople just loving HGB, because
HGB is an experience man.

Speaker 2 (55:45):
It really is.

Speaker 1 (55:46):
It really is.
And this beat tape is the samething, man.
So how did you even come upwith this concept for HGB?

Speaker 3 (55:52):
beats.
So the title came up as a kindof like a joke.
Um, so me and uh boom Baptistgo to the same HGB and we run
into each other there a coupleof times.
Um, and after the second timewe bumped into each other.
I DM'd him later like as a joke, being like yo, we should make
a collab album and call it HGB.

(56:14):
But that name HGB is just kindof stuck in my head already.
Uh, even before that there wasa, a corduroy show.
He's another amazing, uh,electronic producer here in
Austin.
Uh, I, it might have been likean exploded drawing or some sort
of beat showcase that my homiecorduroy played at, and in
between tracks he was just likehello, welcome to HGB.

(56:34):
He just like on stage, whichmade me laugh so much.
But at the same time it's likeyo, like shout out HGB, like
that that's actually for real,representing as fuck.
So, uh, I kind of got the ideain my head that, like yo, hgb is
like I kind of ride for HGB,bro.
Honestly, like I'm so down toname an entire project after HGB

(56:55):
because I mean I go there everyweek, I buy all my food in
there every week, I cook up inthe kitchen with groceries from
HGB, like I cook up with uh withmy beats at home from samples
and whatnot.
So, uh, let's just uh put twoand two together and make a make
a project that represents oneof my great loves in Austin,
texas, and that is the grocerystore HGB.

Speaker 1 (57:16):
Yo, man, yeah, if y'all listen to this, if y'all
haven't listened to HGB, hgbeats, do yourself a favor, man.
I'm going to link his wholedescription in this show.
So yo, just do yourself a favor, man, and support this joint.
I got the cassette um, which Igot to get you to sign, man, I
got.

(57:37):
Next time I see you, you know,I got to get your autograph.

Speaker 3 (57:39):
Oh yeah, for show, for show.

Speaker 1 (57:40):
Yeah, that one, and then, uh, warp mode, I got.
I got both of those, cause Ithink that was a cassette too,
right, um?

Speaker 3 (57:47):
as it was it sure was .

Speaker 1 (57:49):
So I got both of those man, I got a, I got a, I
got to get your autograph onthose man.
Um, and then you just came outwith um.
What'd you just come out with?
Um as a single, that you justcame out with actual um.

Speaker 3 (58:04):
Oh you, you mean the one that I just dropped.
Uh, this week you just droppedit.

Speaker 1 (58:07):
Yeah, you just dropped this joint.

Speaker 3 (58:10):
Um, that one's called happy accidents, yeah.

Speaker 1 (58:12):
There you go, there you go.
What's so?
Can we talk about that?
That that joint right therereal quick?
Is that leading up to a newbeat tape, a new album?
What's what's happening withthis?

Speaker 3 (58:23):
So yeah, uh, so, these new, these new releases
that I'm coming out with onSpotify, um, for one, I have to
shout out my team, that is themind feeders.
They're these homies fromBerlin that are my um, they're
my management, they're my teamand they are helping me with, uh
, helping me with things likeSpotify and, um, all other, all
other kinds of things in thebackground.
Um, they're the reasons that Igot uh crazy streams last year.

(58:47):
Um, it was.
It was one of those situationswhere, like I had built up my
audience on Instagram and theyreached out to me and DM me like
yo, maybe we can work together.
Um, and after, after quite along while of like negotiation
and figuring, each other out and, uh, you know cause you gotta
have your guard up in theinternet days.
Um, we went through.
We went through the longprocess of getting to know each

(59:08):
other, contract negotiations,everything's super official.
So, in case anybody didn't know, I am with mind feeders.
That is my management, that ismy team, based in Berlin.
They also they also manage,they also manage Odyssey, which
was really the main reason.
I was like all right, theseguys are legit.
So, uh, all that in thebackground.
Um, so this is a the latest in aseries of singles that I have

(59:30):
been releasing with mind feederson, uh, on Spotify, and for now
, these in particular.
They're really just singles.
I'd say Spotify, but it's onall streaming, everything.
Um, apple music is surprisinglyalso like a really good source
of streams for me, because theyhave a bigger audience in Europe

(59:52):
.
That's a whole other thing, Um,but, yeah, so I have a series
of singles that I've dropped,with them just on streaming,
just to have like a kind ofsteady flow of things happening.
Um, but that is building intosomething.
So, um, I can't really I don'twant to go into details right
now, but I'm not going to doanything.
So, um, I can't, really I don'twant to go into details right

(01:00:15):
now, but I do have a collabalbum with uh, someone that I'm
really, really excited to workwith.
That's going to be coming outnext year.
I can't really talk about umwho, I can't really talk about
the details yet, but it's goingto be a big collab album with uh
, with a bigger artist, and Iwill give you I will give you

(01:00:37):
one hint as to who the artist isthat I have this album that I'm
working on with.
It is one of the artists thathas a fat beats bakers dozen.
If you know about those um,that uh vinyl series that fat
beats did.
They reached out to a bunch ofdifferent producers and have
them had them put out like a 12beat, uh, 12, 12 joint beat tape

(01:01:00):
.
I am producing with one of thedudes, uh, that has one of those
.
I'm not going to say who it is,but it's someone from Germany
and it's someone that I'm reallyexcited to work with.
So, yes, I do have a big albumcoming out next year.
Um, other than that, I have uh,I have a couple of pretty.
Another thing I'm going to be alittle bit coy about, but I

(01:01:22):
have a single in the tuck thatis also with a really well known
uh beat producer.
Again, I'm not going to say whoit is, but I have played it out
at a couple of live shows, sosome of y'all that have been at
some of my recent live showsmight know who it is that I'm
working with.
I'm not going to say too muchmore on here, but um, yeah, safe
to say, things are brewingbehind the scenes at the flow

(01:01:43):
bomb, the camp.

Speaker 1 (01:01:44):
Yeah, man.
So y'all tap into flow bombereverything he's doing, Stay
tuned to his Instagram and payattention to his link treatment.
Um, listen, um.
Last two questions yeah, Um,when, um, if there's there's one
thing that, uh, that you couldsay to up and coming, you know,

(01:02:08):
beat makers, music producers,composers, um, about why you
create music, what would you say?

Speaker 3 (01:02:17):
Do it cause you have to do it, bro.
Do it cause you have no choice.
Cause it like soothes your soulor cause you have the like fire
inside of you.
You know, don't do it for money, don't do it for clout, cause
you will fail.
If that's your motivation, dude, you got to do it cause it's
what my you know what mymotivation is?
I want to create the stuff thatI want to hear.

(01:02:38):
That's like, at the end of theday, I want to make music that
doesn't exist but that I need toexist.
So if you're doing it out of uhand another way of saying that
is to just do it out of love doit out of love for the craft, do
it out of like being a nerd formusic, whatever it is.
Just do it cause you feel likeyou need to and do it because
you feel like it is inside ofyou.

Speaker 1 (01:03:01):
Yo man, that's a ding ding, ding, ding ding.

Speaker 2 (01:03:05):
Yeah, Listen man.

Speaker 1 (01:03:08):
Yo listen, you've done some amazing beatsets that
uh that I've been a part of manbackyard sessions put on by IKBC
, austin man Preston man.
It was rather unique.
Um and yo and uh, the car, thecars that you've been a part of,
that I've been able to see umand quickly like how, why?

(01:03:33):
Why finger drumming um live,like why, why do that?

Speaker 3 (01:03:39):
So when it comes to like watching beat performances
live, um, I found that a lot ofthem are pretty visually boring
just watching somebody therelike pressing buttons and
looking like they're checkingtheir email.
So my whole thing was look, Iwant, I want whoever's watching

(01:03:59):
me to have a direct visual linkof what this finger is doing and
the sound that's coming out ofit.
You know, like watchingsomebody play like drums live or
guitar live, you see them playthe chord and you see, you hear
the sound come out.
At the same time, you see themshred the solo and you see their
fingers move and there's thatlike, there's that visual

(01:04:21):
element to it and it alsotickles the part of your brain
that's like oh, I get thatsatisfaction of like, oh, this,
this movement is leading to thissound and it makes sense and
it's like fun to see, likewhat's going to happen next.
So part of the reason why fingerdrum live is that I just want
uh, I just want the audience tobe able to have that experience

(01:04:41):
of actually having it feel likea performance and not
necessarily just like, you know,pressing play or like I look
like I'm checking my email backthere, like.
I want people to actually feellike I'm playing an instrument
up there which can be reallydifficult for um, electronic
music.
Um, a lot of the times you'llsee a performance where it's
like I don't know synthesizersor modulars or like really

(01:05:02):
esoteric and like cool lookinggear.
But if the guy's just up therelike kind of twiddling knobs at
least for me a lot of the timesit just like doesn't necessarily
connect all the way, likesometimes for performances like
that you almost have to beanother producer or another like
sort of tech nerd to understandwhat's going on, to really have

(01:05:23):
that connection to it.
I want to remove that barrierand just have anybody from any
background be able to understandwhat's going on and enjoy the
beat set.

Speaker 1 (01:05:32):
Got you, I got you.
Can you shout out your uh, yourschool, where you teach at man,
I got it.
Like that's a big deal for ateacher.
Ah, thank you, you got to shoutthat.
I know the kids.
You be like yo kids.
I've been on a podcast.
Check me out.

Speaker 3 (01:05:48):
Oh bro, I do not.
I do not tell the kids.
I do not tell the kids, I don'twant them on my social media.

Speaker 1 (01:05:55):
I got you.
I got you, man.
So okay, Last question, man,and first of all I want to say
thank you again for being on theshow, hey thank you for having
me.
Thank you for your thank youfor your time, my pleasure.
The rest of 2020, well, 2023 iscoming to a close right, so
2024 is going to be wide open.
Besides what you told us, alittle bit of like where can

(01:06:17):
people find you?
What are your socials?
Why should they tap intoFlobama and what?

Speaker 3 (01:06:23):
you're doing so, first of all, flobama 91 on
everything FLOBAMA91, twitter,tiktok, instagram.
All of that is Flobama 91.
And people should tap into meif they feel, if they enjoy the
music.

(01:06:44):
You know, if you enjoy a goodsample flip, if you're into some
laid back vibes, if you're intolo-fi music, if you want to
just have some cool backgroundmusic to study and chill to, or
if you want to, if you'resomebody who is a producer that
wants to learn a little bitabout I don't know, finger
drumming or using Ableton orusing a SP-404 or anything like

(01:07:04):
that, that would be another goodreason to follow me.
I have some.
I'm always working on new beatvideos, new beat Ableton cook up
content, mpc content.
I actually have a collab withthe company Ableton that I'm
working on that's going to becoming out sometime next year.

(01:07:25):
I got a little thing in theworks with Red Bull as well.
That's like a smaller little,just like fun video, but y'all
can keep y'all's eye out forthat.
And yeah, just if you feel thevibes, feel free to holler at
your boy.

Speaker 1 (01:07:41):
Yo, man, that's yo listen.
Flowbomb has been featured onthe Austin Chronicle too.
Man, I'm going to link thatarticle as well.
I think that was like 2021 whenyou came out with that, but you
know that's one of my careerhighlights.

Speaker 3 (01:07:55):
for sure, I was so proud of that moment.

Speaker 1 (01:07:57):
Yeah, so I got to link that in the description of
the show so everybody can readthat.
Yo Flowbomb.
I want to say thank you, man.
Keep doing your thing.
I'm paying attention andsupporting you, man.
Thank you brother, you're goingto definitely have some new fans
from around the world.
That's going to tap into you.
Man, y'all going to enjoyFlowbomb man and if you enjoy

(01:08:19):
his music, man, send him amessage.
Man, shout it out.
Send him a message saying youenjoy it, what you enjoy about
it, because I'm pretty surefeedback is another piece of the
social media.
This whole landscape, you knowwhat I mean 100%.
That's important, man.
So thank you for your time, man.
I appreciate you, man, any lastwords you want to give to the

(01:08:41):
internet.

Speaker 3 (01:08:45):
Uh, y'all stay breezy bros.
Be some dope killers.

Speaker 2 (01:08:52):
Yeah, that's all I got, and that's totally nice.
Oh, oh, oh, oh, oh oh.

(01:12:00):
I Was working produce at H ebplus just minding my pairs in

(01:12:53):
come quads when she walked in.
I Need you to make somethingdisappear.
Oh, oh, oh, oh, oh, oh, oh, oh,oh, oh, oh, oh, oh, oh, oh oh.

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